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as stated above in subscription info. See 
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DEADLINES FOR NEXT ISSUE: 

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Also available from: No Idea, Sound 
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See page 5 for foreign distribution info. 

Please send all records, zines, 
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MAXIMUMROCKNROLL 
PO BOX 460760 

SAN FRANCISCO, CA 94146-0760 
Phone (415) 923-9814 
Fax (415) 923-9617 
www.maximumrocknroll.com 

mrr@maximumrocknroll.com 
\ (use this mainly for comments 
frjgV 1 & letters. Use phone for ads 

J & other business stuff) 


rut WMCU ft o VWUM Mwrw ^ ww "' r ’ f 

of the MRR crew’s current Top 10 (or so...) lists of stuff 


TOP 10 


WORLD BURNS TO DEATH-Add in the Face-EP 
HORROR-First Blood-10” 

THE DEAD ONES-Det Si Sta Andetaget-LP 

D.S.B.-EP/RORSCHACH-LP 

GIANT HAYSTACKS-How We Lost the War-EP 

MUNICIPAL WASTE-Waste 'Em AII-LP 
WARSAW-An Idea For Killing-LP 
D.S.B.-Pure Cultivation-EP 
V/A-Polar Grinder-LP 
SCOTT BAIO AR MY/LINE OF DESCENT-LP 

RUNNAMUCKS-On the Brink-LP 
GIANT HAYSTACKS-How We Lost the War-EP 
EXPLODING HEARTS-Guitar Romantic-LP 
FINAL SOLUTIONS-Eat Shit-EP 
BARSE-LP/DIE SCHWARZEN SCHAFE-EP 


WARSAW-An Idea for Killing-LP 
GUYANA PUNCH LINE/STACK-live 
IRON LUNG/LANA DAGALES-split LP 
HOLDING ON-Question What You Live For-LP 
EXPLODING HEARTS-Guitar Romantic-LP 


BARSE-They Said It Couldn’t-LP/SHANK-live 
WOLF BRIGADE-Life Comes Ripping-10” 
WARSAW-An Idea for Killing-LP 
HENRY FIATS OPEN SORE-Patmos or Bust-EP 
NEGATIVE APPROACH-Tied Down-LP 

HEAD HIT’S CONCRETE-10” & EP 
HENRY FIAT’S OPEN SORE-Patmos or Bust-EP 
RUNNAMUCKS-On the Brink-LP 
WORLD BURNS TO DEATH-Acid in the Face-EP 
V/A-Super Sabado Gigante-LP and live 

AMBULANCE-Words-EP 
CALL THE POLICE/BACTERIA-live 
101’ERS-Beat Music Dynamite-LP 
ANFO-La Sangre-EP/D.S.B.-EP 
Portland Radical History Bike Tour-audio zine 

ORPHANS-Nobody’s Fool-EP and live 
SICK TERROR-43 Segundos-EP 
V/A-No Holding Back-3xLP 
WORLD BURNS TO DEATH-Acid in the Face-EP 
The Kids-live at shows and shutting the City down 


WARSAW-An Ideal for Killing-LP 
V/A-The Sympathetic Sounds of Toe-Rag Studios-LP 
BITTER PILLS/PINK SEXIES-split EP 
HENRY FIATS OPEN SORE-Patmos or Bust-EP 
ORPHANS-Nobody’s Fool-EP and live 

MORTICIA’S LOVERS-R&R Overdose-LP 
TENNESSEE BEATS-A Place In Reno-45 
EXPLODING HEARTS-Guitar Romantic-LP 
V/A-Their Sympathetic Majesties RequestVol ll-2xLP 
DIALTONES-Four Last B lasts-EP 

IMRif 

MR. CALIFORNIA/VILENTLY ILL-split EP 
HENRY FIAT’S OPEN SORE-Patmos or Bust-EP 
V/A-Their Sympathetic Majesties RequestVol ll-2xLP 
V/A-Anatomy of A...-EP 
ORPHANS- No body’s Fool-EP and live 

EXPLODING HEARTS-LP/MEDIA WHORES-CD 
DEAD THINGS-Ride Your Bike-CD 
VICTIM-Everything-CD/THE PINE-Lead Blocks-LP 
ATOM AND HIS PACKAGE-Attention-CD 
MIDGETMEN-Pool Party-CD 


FINAL SOLUTIONS-Eat Shit-EP 
SUBSONICS-A Lot to Forget-LP 
LATIN DOGS-Warning!-EP 
THE FAD-CD 

THE EVIL THINGIES-New Shapes in Sound-10” 

THE WON TONS-Hex Appeal-LP 
VANDALS-Underground-EP 
NIPPLE ERECTORS-The Lost-EP 
ONE MAN ARMY-Victoria-EP 

GIANT HAYSTACKS-EPMJNICIPALWASTE-LP & ive 
A FEAST OF SNAKES-LP/MOVERN CALLAR-film| 
PINK SEXIES/BITTER PILLS-split EP 
TARANTULADA-What Young People Say-EP 
MASONICS-CD/WARSAW-LP/SHEMPS-live 

RANDY-Steppin Out-EP/WARSAW-LP 
NONE MORE BLACK-EP/STRIKE ANYWHERE-EP 
THE CRUSH/HEADS & BODIES-split EP 
LOS OLVIDADOS/CLIFTONS-split EP 
MUTANTS-live/G BH-live 



Pleas© seed us record 

|| for MftR and one 

records section 


7TTTT 


Plil 



■ EXPLODING HEARTS-Guitar Romantic-LP 

■ BACKWOOD CREATURES-Living Legends-LP 
I MORTICIA’S LOVERS-R&R Overdose-LP 

I SWINGIN’ UTTERS-Fat Club Single-45 
|TIP_T0PPERS“ Packed to the Rafters- LP 

■ * 1 f i * I u 1 1 . ■ ! v In 1 1 1', ■■■ 

I V/A-Super Sabado Gigante-LP and live 

lORPHANS-Nobody’s Fool-EP and live 
I HENRY FIATS OPEN SORE-Patmos or Bust-EP 
INOFX-Zyclone B Bath House-45 
I THE DEAD ONES-LP/BARSE-LP 


IMIGRA VIOLENTA-HC Crust-LP 
I COUNTERBLAST-lmpassivity-2xLP 
I IRON LUNG/LANA DAGALES-split LP 
|D.S.B.-Pure Cultivation-EP 
| FINAL SOLUTI ONS-Eat Shit-EP 


HOLDING ON-Question what You live For-LP 
NEGATIVE APPROACH-Tied Down-LP 
MUNICIPAL WASTE-LP/live/KUNG FU RICK-live 
SUICIDE FILE-LP/AMERICAN STEEL-EP 
GIANT HAYSTACKS-How We Lost the W ar-EP 

IRON LUNG/LANA DAGALES-split LP 
RADIO 4- 1 Z’/MARA'AKATE- 1 2" 

BURN YOUR BRIDGES-LP/WARSAW-LP 
THE HORROR-First Blood-10” 

THE SUICIDE FILE-Twilight-LP 

SCOTT BAIO ARMY/LINE OF DESCENT-LP 
DURGA-Earn Your Red Wings, Mormon-EP 
GUNS LIQUOR & WHORES-Serpico-IO” 
HANGING ROTTEN-Your Cheatin’ Heart-LP 
V/A-Super Sabado Gigante-LP and live 


ZINE SHITWORKERS 


TOO TRAUMATIZED 


Anandi 
Peter Avery 
Jerry Booth 
Tim Brooks 
Kat Case 
Robert Collins 
Rob Coons 
Paul Curran 
Mikel Delgado 
Kara Electric 
Jake Filth 
Gardner Fusuhara 
Harald Hartmann 
Vince Horner 
Chloe Jensen 
Carolyn Keddy 
Paul Lesneski > 
Ray Lujan 
Hal MacLean 
Jeff Mason 
Megan March 
Jennifer Mushnick 
Mimi Nguyen 
Donna Poole 
Roy Rahlfling 
Spencer Rangitsch 
Casey Ress 
Bruce Roehrs 
Greta S. 

Andrew Scott 
Max Tremblay 
Alicia Zonis 


Aragorn 

Michelle Barnhardt 
Julia Booz Ullrey 
Amy Browne 
Karoline Collins 
Catherine Cook 
Carl Cordova 
Andy Darling 
Ben Ditch 
Nicole Erny 
Jonathan Floyd 
Doug Grime 
Jeff Heermann 
George Impulse 
Kenny Kaos 
Elliot Lange 
Michael Lucas 
Jesse Luscious 
Bobby Manic 
Tobia J. Minckler 
Allan McNaughton 
Mark Murrmann 
Joshua Peach 
Wm. Rage 
Sandra Ramos 
Rick Reavill 
Will Risk 
Heather Ryan 
Sara Sandberg 
Steve Spinali 
Gordon Zola 


ItEMPLARS/REDUCERS SF/PRESSURE POINT-live 
IANTISEEN-LP/NEGATIVE APPROACH-LP 

|runnamucks-lp/d.s.b.-ep 

■ WOLF BRIGADE-Life Comes Ripping-10” 

DIE SCHWARZEN SCHAFE-Last Gang-EP 

lulkf »f Tf (1 

■WOLF BRIGADE-1 07CALL THE POLICE-live 

■ DIE SCHWARZEN SCHAFE-Last Gang-EP 
|barse-lp/the DEAD ONES-LP 

I HENRY FIATS OPEN SORE-Patmos or Bust-EP 
[FINAL SOLUTIO NS-Eat Shit-EP/D.S.B.-EP 

JM— 

■ BARSE-They Said It Couldn’t Happen-LP 

■ HENRY FIATS OPEN SORE-Patmos or Bust-EP 

■ MR. CALIFORNIA/VILENTLY ILL-split EP 

■ FINAL SOLUTIONS-Eat Shit-EP 
[NEDERBIETELS-Kejje Nagaan-45 


■Chumpire #157 
■ Father’s Day #1 
I Hippie Vomit #2 

■Portland Radical History Bike Tour 
iRazorcake #12 


RORSCHACH-LP/MUNICIPAL WASTE-LP 
THE DEAD ONES-LP/HEADCASE-EP 
BRODYS MILITIA/CRUNKY KIDS-split EP 
MOLOTOV COCKTAIL/DISTRAUGHT-split EP 

BURY THE LIVING-EP/BORN DEAD-live 
WORLD BURNS TO DEATH-Acid in the Face-EP 
HOLDING ON-LP/SICK TERROR-EP 
ANFO-La Sangre-EP/ORPHANS-EP 

ANTISEEN-Noise For The Sake Of Noise-LP 
V/A-The Sympathetic Sounds of Toe-Rag Studios-LP j 
MHZ-Action Rgure-EP 
V/A-Anatomy of A...-EP 

Rock Out! Ideas on Booking DIY Shows #1 
Zoop! #21 
Quickdummies #15 
America? #10 
Cherrybomb 


ZINE CONTRIBUTORS 


Tony Arena 
Nathan Berg 
Chris(tine) Boarts 
Mitch Cardwell 
Bill Florio 
Mark Hanford 
Jessica Mills 
Erika Ransom 
George Tabb 
Wells Tipley 
Erin Yanke 
James Duane 
Dana Cox 
Squeaky Wilentz 
Todd Evans 
Damon O’Banion 
Lane Van Ham 


Chris Bickell 
Mykel Board 
Renae Bryant 
CrimethINC 
John Geek 
Maddy 
Ted Rail 
Scott Soriano 
Mike Taylor 
Felix Von Havoc 
Henry Yu 
Jason C. Snyder 
Artie Philie 
Stephe Perry 
Mike Nisbet 
Fahad Nabhan 
Weke Riikonen 


DISTRIBUTION COORDINATOR 

Clara Jeffers 

ZINE COORDINATORS 

Arwen Curry Mike Thom 




MAXIMUMROCKNROLL MAXIMUMROCKNROLL MAXIMUMROCKNROLL 


MAXIMUM ROCKNROLL IS A MONTHLY PUBLICATION. ALL WORK IS DONATED AND NO ONE RECEIVES ANY SALARY. ALL PROCEEDS ARE EITHER INVESTED IN TECHNOLOGI- 
CAL IMPROVEMENTS OR GO TO OTHER SIMILARLY NOT-FOR-PROFIT PROJECTS. ANYONE IS WELCOME TO REPRINT ANYTHING FROM MRR, BUT ONLY IF ITS NOT-FOR-PROFIT. 


#148/Sept ‘95. Soda Jerks, Toe Rag, Thorazine, Sacred 
Straight, Wizo, Opposition Party, Moody Jackson, 
Adversives, Opcion Crucial, Rebel, Rebel, Teen Idols, 
Walking Ruins. 

#1 50/Nov '95. NY Loose, Snap-Her, Sick Boys, 
Splatterheads, Pipe, Pregnant Man, Final Conflict, 
Rawness, Stink, Goblins, Smellie Fingers. 

#151/Dec '95. Lowdowns, My White Bread Mom, 
Queen B’s, Electric Frankenstein, Turtlehead, Serpico, 
Trick Babys, In/Humanity, Stains, Varukers, Pist, 
Terrible Virtue. 

#152/Jan '96. Delilah Jacks, Battalion of Saints, Bottom 
Feeders, Turbonegro, Murder Junkies, Junior, Assfort, 
Retch Records, Com-Fract, Dead End Kids. 

# 153/Feb ’96. Snort, Hatchctface, Little Ugly Girls, 
ADZ, Oxymoron, NOTA, Stun Guns, Surfin’ Turnips, 
Gutfiddle, Karen Monster, Dimestore Haloes. 

#1 54/Mar ‘96. Motards, Subincision, Stisism, Donnas, 
Stallions, Count Backwards. 

#156 pt 1/Mav '96. Public Toys, Crunch, Peter & The 
Test Tube Babies, Nails Of Hawaiian, Splash 4, Yawp!, 
Lifetime, Sickoids. 

#156 pi 2/May '96. Australian Special: Beanflipper, 
Melancholy, Blitz Babiez, Crank, SubRosa, Mindsnare, 
TMT, H-Block, B-Sides, Fallout, Frenzal Rhomb, 
Lawnsmell, One Inch Punch, Chickenshit, No Deal. 

#157/June Against All Authority, The Criminals, 
Wardance, Heroines, Brain Brats, Rudiments, Chinese 
Millionaires, Sons Of Hercules, Your Mother, Yellow 
Scab. 

#1 59/Aug '96. Smugglers, Brand New Unit, Tone Deal 
Pig-Dogs, Round Ear Spocks, David Hayes/Very Small 
Rees, Man Afraid, Blind Side, Vox Populi, Death Wish 
Kids, Fun People, Fat Drunk & Stupid. 

#160/Sept ‘96. Automatics, Boycot, Toast, Morning 
Shakes, Mormons, John Q. Public, Sex Offenders, 
Ballgagger, Business, Apocalypse Babys, Good 
Riddance. 


Guapos, Les Partisans, Bristols, My 3 Scum, Space 
Shits, Pessimiser Rees, Reclusives, Nick Qwik. 

#1 74/Nov ‘97. Stratford Mercenaries, Lickity Split, 
Bladder, Piss Shivers, Barnhills, In/Humanity, 
Education theme issue. 

#175/Dec ‘97. One Man Army, Those Unknown, 
Boiling Man, Piao Chong, Exploding Crustaceans, Last 
Year’s Youth, Heartdrops, Dirty Burds, Dimestore 
Haloes. 

#1 78/Mar ‘98. Economics issue. Forgotten Rebels, 
Dirtys, Josh Collins, American Steel, Letterbombs, 
Gyogun Rend s, Go-Devils, Room 41, Tone Deaf Pig 
Dogs, Garage Rats. 

#179/April ‘98. Boy Sets Fire, Tres Kids, Idyls, Spat & 
The Guttersnipes, The Posers, Explosive Kate, Douche 
Flag. 

#1 80/May ‘98. Reinforce, Discontent, TV Killers, Slack 
Action, Eyeliners, Mademoiselle, MK Ultraviolence, 
Haulin’ Ass, 97a, Infiltrators, Jack Saints, Stray Bullets. 

#1 81/June ‘98. Grapefruit, Druggies, Stiletto Boys, All 
Bets Off, Bonecrusher, Summerjack, Cell Blck 5, DDI, 
Normals, Pirate Radio issue. 

"#184/Sepl ‘98. Absentees, Devoid of Faith, UXA, 
Umlaut, Four Letter Word, Streetwalkin' Cheetahs, 
Ricanstruction, Libertine, Indecision, Snarkout Boys. 

#1 85/Oct ‘98. Traitors, Wimpy Dicks, Armed & 
Hammered, Dylan McKays, NME, Tezacrifco, Worm, 
Roswells, Raxola, Beatnik Termites. 

#1 86/Nov ‘98. Registrators, August Spies, Marilyn's 
Vitamins, Chinese Love Beads. 

#187/Dec ‘98. Real Kids, Sawn Off, Cretins, Spider 
Cunts, Heroines, Third Party, No Class, Skabs. 

#1 88/Jan ‘99. Stitches, Neighbors, Mansfields, Real 
Swinger, Marauders, Mark Bruback, Mars Moles, DOA. 

#1 89/Feb ‘99. Monster X, Peter & the Test Tube Babies, 
Steam Pig, Maurauders, Yakuza, Dead Beat, Halfways, 
Hot Rod Honeys, DeRita Sisters. 


Hers Never Existed, Comctbus, Active distro, Toxic 
Narcotic, MRR #100-200. 

#201/Feb ‘00. Beerzone, Towards An End, Daybreak, 
“Best Punk Singles of the ‘90s,” the WTO riots in 
Seattle. 

#202/March ‘00. KTMWQ, Real Estate Fraud, Strike 
Out, Broken Rekids, the Haggard, GC5, Gore Gore 
Girls, the Catheters. 

#203/April ‘00. Spazz, Slang, Slug & Lettuce zine. 
Suburban Voice zine. As We Once Were, Red Angel 
Dragnet, Four Letter Words, Slampt Records, the 
Wednesdays, the Fuses. 

#204/May ‘00. Cocksparrer, Talk Is PoiSbn, Red Scare, 
Put Downs, Out Cold, Geraldine, Michael Knight, 
CBGaV, Pillage People. 

#205/June ‘00. Punks With Kids special. Skudz, 50 
Million, Legion, Wilbur Cobb, Coalition. 

#206/July ‘00. Drunk, ESL, Ambition Mission, Lord 
High Fixers, Cripple Bastards, Dig Dug, Federation X, 
Amulet, Valentine Killers. 

#207/Aug ‘00. Haium Scamm, Raw Power, Unseen, 
Pekinska Patka, Hudson Falcons, Dementia 13, Confine, 
Allergic to Whores. 

#208/Sept ‘00. Le Shok, the Commies, the Chcmo Kids, 
Day of Mourning, Affront, Diaspora, Whippersnapper, 
Hopeless/Sub City, Prank, Countdown to Oblivion 

#209/Oct ‘00. Loose Lips, Godstomper, Peace of Mind, 
FYP, I Farm, Annalise, Cattle Decapitation, Riot/Clone. 

#210/Nov ‘00. J Church, Profane Existence, Pezz, Pre- 
Teens, Templars, This Machine Kills, Subtonix, OB. 

#21 1/Dec ‘00. Ry & Seth Tobocman, Anti/Dogmatikss, 
Hissyfits, Aus Rotten, Media Blitz, Rocks, Hospital 
Food, Falsies. White Stripes, 9 Shocks Terror, Tijuana 
Bibles. 

#213/Feb ‘01. Fun People, Onward to Mayhem, Ugly 
Pop, Midnight Evils, Atrocious Madness, Bread & 
Water, Josh Peach, Zodiac Killers. 


tour diary, the Cravats, JR Ewing, Dutch scene report, 
extended news section, “Globalization Rhetoric & 
Reality,” 

#223/Dec ‘01. “US Policy in the Middle East,” 
“Revisiting 1948,” Manifesto Jukebox, Good Riddance, 
Pokers, Viimenen Kolonna, Bluebloods, Vitamin X tour 
diary, Rakes, Pg. 99, the Mob, 7 Days of Samsara. 

#224/Jan ‘02. “Legislation Since Sept. 1 1 ,” Rendencion 
9.11, Metro Youth, Severed Head of State, Piranhas. 
Paraf, Backstabbers, Inc, An Albatross, Citizen Fish 
Tour, SPAM Records, the Vims, Action Time. 

#225/Feb ‘02. Lengua Armada, Breaker Breaker, 3 Yrs. 
Down, Scrotum Grinder, Turun Tauti, Rux Of Pink 
Indians, Holding On, Pauki, 86'd, See You In Hell, Red 
Light Sting, Nazis From Mai's, Scare Tactic. 

#226/Mar ‘02. Queer punk special issue. Vaseline, 
Quails, Skinjobs, Italian queer punk report. Vaginal 
Davis, Feelings on a Grid, Sissies, Scott Free, Dumba, 
Columns. 

#227/Apr ‘02. Bellrays, Rhinos, Wasted, Kristofer 
Pasanen, Business, Assert, DS 13 tour report, Life Set 
Stmggle, Iowaska, Zounds. 

#228/May ‘02. 3 Summers Gone, Haymaker, Killed In 
Action, 31G. Cheetah Chrome, Stardumb, This 
Computer Kills, Isso'Kch, Strong Intention, 
Desobediencia Civil, Caustic Christ, Lack of 
Knowledge. 

#229/June ‘02. Countdown To Putsch, The Awakening, 
Dave Hill Distribution, Holier Than Thou, Kill Devil 
Hills, Sound Of Failure, E.T.A., Nubs, Les Baton 
Rouge, New Disorder Records, Career Suicide, 
Swellbellys, The Sinyx. 

#230/July ‘02. Bitchin’, Rcdencion 911, Phantom 
Limbs, Secretions, Holy Molar, Sharp Knife, Mighty 
John Waynes, A Global Threat, Groovie Ghoulies, 
Reproach, Annie Anxiety. 

#23 1/Aug ‘02. Epoxies, Puppy Vs. Dyslexia, Koro, 
Blocko, Amdi Petersen’s Arme, Piss & Vinegar Zine. 
Schizophrenic Records, Toys That Kill, Give Us 
Barabbas, Dirt. 


#161/Oct ‘96. Jet Bumpers, Steel Miners, Divisia, Lopo 
Drido, Red #9, Nothing Cool, Sink, Sires, Newtown 
Gmnts. 

#162/Nov ‘96. Phantom Surfers, Candy Snatchers, the 
Stain, National Guard, Torches To Rome, Restos 
Fosiles, Two Bo’s Maniacs, Snuka, Redemtion 87, 
Torture Kitty. 

#163/Dec ‘96. Last Sons of Krypton, Prostitutes, Wig 
Hat, Boys, Let It Rock, Enemy Soil, Vulcaneers, Half 
Empty, Zeros, Deadcats, Teen Idles. 

#166/Mar ‘97. Walking Abortions, Hickey, ‘77 Spreads, 
Sanity Assassins, Cards In Spokes, Joey Tampon & The 
Toxic Shocks, Adjective Noun, Suicide King, Lenguas 
Armadas, Trauma, De Crew. 

#168/May ‘97. Cretin 66, Fishsticks, Distemper, 
Enewetak, UK Subs, Luxo Champ, Jake Sayless, 
“Pioneers of Punk.” 

#169/June ‘97. Hand Skin, Cluster Bomb Unit, Jihad, 
Purgen, Speed Queens, Remission, Halflings, The Old 
Man, Deface. 

#170/July ‘97. Bristle, Mine, Tedio Boys, The 4 
Cockroaches, Absconded, Meanwhile. Broken, (Young) 
Pioneers, Hoodrat. 

#171/ Aug ‘97. Violent Society, Strychnine, Idiots, 
Knuckle Heads, Race Traitor, Patrick Grindstaff, 
Misanthropists. 

#172/Sept ‘97. Withdrawals, Judgement, No Motiv, 
Oppressed Logic, Tments, Left For Dead, Yellowskin, 
Weird Lovemakers, Smash Your Face, Ratus, Straight 
Faced, Klaxon, X-It. 

#173/Oct ‘97. Hot Water Music, Fat Day, Los Tigres 


#190/Mar ‘99. John Holstrom, Powerhouse, Brezhnev, 
Slappy, Black Pumpkin, Smartbomb ca, Wanda 
Chrome, Long Gones, Smogtown, Halfways, Tilt. 

#1 91/April ‘99. Murder Suicide Pact, Kil Kare, 
Dudman, Super Hi-Fives, Better Than Elvis DJs, Pet 
Peeves, Loose Ends, Slingshot Episode. 

# 

#192/May ‘99. Los Cmdos, Burning Kitchen, Henry 
Fiat’s Open Sore, Polythene, Kangaroo Rees. 

#1 93/June ‘99. Munster Rees, DS-13, Safety Pins, 
Pussycats, Piolines, False Alarm, Darlington, Bad Stain, 
Bodies, Houseboy, Mullets. 

#194/July ‘99. Deathreat, Last Match, God Hales 
Computers, Fokkewolf, Resh Eating Creeps, Aside, 
Hoppin’ Mad, Kid Dynamite, Thee Outcasts. 

#195/ Aug ‘99. Moral Crex, RC5, Have Nots, 111 
Tempered, Dysentery, Greg Higgins, Revlons, Larry & 
the Gonowheres.. 

#1 96/Sept ‘99. Hopscotch, Catharsis, Orchid, The 
Pricks, Grisslc, Product X, Reaching Forward, Emerge, 
Third Degree, “Epicenter Zone ‘90-‘99”. 

#1 97/Oct ‘99. Reducers SF, Lower Class Brats, Reactor 
7, TheGodsHateKansas, Futuro Incierto, Showcase 
Showdown, Waffle, Rat Earth Rees. 

#1 98/Nov ‘99. Hail Mary, Pressure Point, Bump ‘N 
Uglies, The Victims, Apolitical, Outlast 

#1 99/Dec ‘99. Locust, Ratos de Porao, USV, Razlog Za, 
G-3, Swarm, WHN?, Mt. St. Helens, Black Cat Music, 
Enemy Soil. 

#200/Jan ‘(Ml. American Steel, Curse, Gee Vaucher, 


#2 14/Mar ‘01. Crispus Atlucks, Fetish, Lifes Halt, Mr. 
Roboto, Dream Dates, Satan McNugget, Havoc, Briefs. 

#2 15/April ‘01. No Means No, Vitamin X, Injections, Y, 
Dils, Last In Line, Don Austin, Deranged Records 

#2 16/May ‘01. Propagandhi, Angelic Upstarts, 
Discordance Axis, Ruination, Photographer: Chris 
Boarts, Strap-Ons, Lynnards Innards 

#217/June ‘01. Joey Ramone R.I.P., Tear It Up, 
Skitsystem, The Pattern, Crimethlnc., Esperanza, The 
Chicago Blackout, Photographer: Ace 

#218/July ‘01. Guyana Punchline, Les Sexareenos, The 
Devil Is Electric, Red Monkey, White Collar Crime, 
Forca Macabra, The Ataris, Suicide, The Mob 

#219/Aug ‘01. “Fix It!" cycling article. Crucial Unit, 
Lost Sounds, Lombardies, Rowers in the Dustbin pt. 1, 
Casualties, Resinators, P.U.N.K., Slaughter & the Dogs, 
Anti-Rag, Dontcares, S’Bitch. 

#220/Sep ‘01. Latin American Issue. Aubuso Sonoro, 
Anti-Todo, Fuerza X, Apatia No, Manganzoids, 
Demencia, Sick Terror, Tocatta y Bulla, NTN, Argies, 
Reconcile, Anti-Korpus, Ruido D»e Odio, Los Pepiniyos, 
Rebelion Disidente, Brazil Scum , Kim Bae Photo 
Essay. 

#221/Oct ‘01. Tales from the G8 Summit, Reflections, 
Soophie Nun Squad, Totalitar, Tree North, Wontons, Sin 
Dios, Bottles & Skulls, Scarred For Life, Rowers in the 
Dustbin pt. 2, Remains of the Day, Ritchie Whites, 
S' 61. 

#222/Nov ‘01. Dios Hastio, Tragedy, Four Letter Word, 
Salad Days author Charles Romalotti, Very Metal, 
Maurice’s Little Bastards, the Rotters, MDC Brazilian 


#232/Sept ‘02. “No Future” article, Lost, Fartz, Sell 
Outs, Razors Edge, Stakeout, Dillinger Four, 

All or Nothing HC, Reshies, Bridge Nine Records, 
Akashic Books, Liberty. 

#233/00. ‘02. “All Ages” article. Scholastic Deth, 
Runnamucks, Sinners & Saints, Panic, Gasolheads, 
Jewws, Futures, Michael Landon’s Commandos, Storm 
the Tower, Against Me!, Balance of Terror, Class 
Assassins, Spazm 151. 

#234/00. ‘02. Snobs, What Happens Next? Brazilian 
tour. The Oath, Radio 4, Feederz, Charm City Suicides, 
Selfish, Riot 99, End On End, Peawees, Born/Dead 

#235/Nov. ‘02. Anti-war Special Issue. Anti-war guest 
columns. Anti-war scene reports. Articles. “Reading for 
Democracy,” “War on Iraq?’ “Unfinished American 
Revolution,” Resource Guide, "US Involvement in 
Iraq, ’’’’Axis of Empire.” Long Island DIY Scene, What 
Happens Next? Brazilian tour part 2, Smalltown, 
Kylesa, Crash & Bum. 

#236/Dec. ‘02. Mr. California & State Police, Iron 
Lung, Riff Randells, Chainsaw, Artcore Fanzine, 
Latterman, Travis Cut, Phenomenauts, Pretty Little 
Rower, X-Cretas. 

#237/Jan. ‘03. Top Ten Records of 2002, “Music as a 
Weapon: Artists in Wartime,” Dirt Bike Annie, Let It 
Bum, Stockyard Stoics, King Khan & Shrines, 625 
Records, Feast Or Famine, Rudimentary Peni, 
Coachwhips, Self Defense. 

#238/Feb. ‘03. World Bums To Death, Chronics, 
Vilently 111, Dystopia, Pilgcr, Exotic Fever, Brezhnev, 
R.A.M.B.O., Blown To Bits, Put To Shame, 
Deconditioned, This Bike Is A Pipe Bomb, Monsters. 


YO 

U WANT 

BA 

iCf 

USSl 

IES? ..we’ve mr m back issues right here. 

1 BUY 

3, THE 4TH IS FREE! 

H 


1 

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^ ' 1 




EUROPEAN DISTRIBUTION 

Dear MRR readers . . ^ 

Hcl.nv you'll r.nd a l,s. ol d.Mros in Europe We've been doing our hes. .o eover as much territory outside of the USA as we can, but we still need your help ,n 
establishing contacts with hkc-mmded punx who are interested in carrying MRR. We're providing this list to you in order to let you know where you can cur- 
.en y get you, monthly Its ol MRR. hut we re always looking for more help; so if you do a distro, would be interested in selling MRR a, shows or jus, wan, to 
go m w„h a erew of Irtends to get a cheaper post rate-ge, in touch and well tel, you the details! Please note that several of the dlstnbutors below ari"w "L" 
,,, subsertptum services, including Active, Assembly Line, and Plastic Bomb. Others might too, jus, ask! This is jus, the beginning. . ., hanks again for all your 


AUSTRIA 

Existence Distribution 

Ignazgasse 40 
1120 Vienna, Austria 

CZECH REPUBLIC 

Filip Fuchs 

Grohova 39 

602 00 Brno, Czech Republic 
orba@seznam.cz 

Malarie Records 

PO Box 153 
756 61 Roznov P/R 
Czech Republic 
www.malarie.ind.cz 

DENMARK 

Kickn* Punch 

c/o Thommas Svendsen 
Svanevej 20 B. 1. TH 
2400 Copenhagen N.V. 
Denmark 

ENGLAND, UK 

Active Distribution 
BM ACTIVE 
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England, UK 

www.activedistribution.org 
Single copies: 

£3.00 each ppd to the UK 
£4.00 each ppd to Europe 
Subscription rates in the UK: 
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Tony Suspect 

PO Box 295 
Southampton 
S017 1LW 
England, UK 

FINLAND 

Combat Rock Industry 

PO Box 65 

11101 RMK, Finland 

www.combatrockindustry.com 

info@combatrockindustry.com 

FRANCE 

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Appartement 4 
L'eglise 

05250 Saint Etienne en Devoluy 
France 

eltrasgo@infonie.fr 

Stonehenge Records 
B.P. 46 

33031 Bordeaux Cedex, France 
www.stonehengerecords.com 

GERMANY 

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47058 Duisburg, Germany 

swen @plastic-bomb.de 

Subscriptions Available 

Thought Crime 

c/o Thomas Franke 
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Green Hell Records 

Bradford & Kestennus GbR 
Von Steuben Str. 1 7 
48143 Muenster, Germany 
www.greenhell.de 
fax 49 - (0) 251 - 5302627 
ph 49 - (0) 251 - 5302628 

X-Mist 

Leonhardstr. 18A 
72202 Nagold, Germany 
www.x-mist-de 

Yellow Dog 

PO Box 55 02 08 
10 372 Berlin, Germany 
www.yellowdog.de 

ICELAND 

Sigurdur Hardarson 

Baronsstfgur 57 

101 Reykjavik, Iceland 

nursepunk@hotmail.com 

NETHERLANDS 

Sonic Rendezvous 
PO Box 417 

1 800 AK Alkmaar, Netherlands 
T +31 (0)72 5673038 
F +31 (0)72 5647237 
http://www.sonic.nl 

SPAIN 

La Idea (Infoshop) 

C/Santa Barbara 7, Local 
280004 Madrid, Spain 
www.sindios.net 


Arwen, Mike, & Clara 


Runaway Records 

Costa de Santa Creu N. 4 A 
07012-Palma de Mallorca, Spain 
runaway @arrakis.es 

Tralla Records SCCL 

Font Honrada, 48 BJOS 
08004 Barcelona, Spain 
www.trallarecords.com 

SWEDEN 

Busted Heads 

c/o Christoffer Jonsson 
Hedlundav 3A 
903 21 Umea, Sweden 

SWITZERLAND 

Pete S. Texas 

c/o Furrer 

Haenibueel 20 

CH-6300 Zug, Switzerland 

thefish@bluefintunarecords.com 

WALES, UK 

Assembly Line 
Unit 100, 61 Wellfield Rd. 
Cardiff CF24 3DG, Wales, UK 
www.assemblylinemusic.com 
Subscription rates in the UK: 
Single copies - £3.25 ppd 
3 issue sub - £9.50 ppd 
6 issue sub - £19 ppd 


DU suBscKsm TO 

m M&xsmm 






ROCI 


donU end up oldf pathetic 
and out of touch 

like these chumps— 


vlli 


i 1 - ' - V 

\) \ only ^30 for a full year in the U$AJ 

That's 12 issues for the price of 101 

1 , J foreign subs a bit more What a fucking deal I 

/ ** get in touch for cheap rates! 

MAXIMUM R0CKUR0LL • P0 BOX 460760 • 3AU FRAUCI3C0, CA 94146-0760 

www.maximumrocknroll.com • maximumrnn2mindsping.com 










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IDENTITY PARADE: PHOTOGRAPHS BY 

KIUSTOFER PASANEN, 1005-2000 
150 Pages, Black & White, Hardcover Havoc records is 
oroud to present our first effort at publishing. Kristofer 
’asanen has compiled an amazing book of his live 
photographs of bands taken over the last five years. 
Hundreds of bands are photographed from Crust to 
the website for a complete list. 

HjMDPjjjOOK] 

SKITSYSTEM Enkel Resa Till Rannstenenfeond 

LP from the masters of dark Swedish hardcore^eavy 
and brutal b-beat mixed with crusty HC and thrash 
styles. A pulverizing steamroller of Swedish hardcore. 
Split release with No Tolerance Records of Sweden 

LP HC1205 X CD HC5D05 


nnssm DESTROY Discography CD 

Re-release of the Necropolis LP on Sound Pollution with 
the entire Destroy vinyl output as “bonus tracks.” All the 
7 and comp tracks. HC50R8 


CQXSBm SPITTING TEETH Don’t Believe 

Die Hype 7 Off-the-hook fast critical hardcore from 
Seattle. The guys who brought you the Million Man Mosh 
return to burn! HC7030 


PETERSEN’S ARNE Blod Ser Mere 
Virkeligt Ud Pa Film 7" Second ep from Danish HC 
ragers. Sounds like the missin^Dischord 7” from 1981 

ll°« s L B,ack Fla 2 sessions from 1980, but in Danish! Records. CD 

HC7D29 


C i ll l H’ll NINE SHOCKS TERROR Zen 

and the Art of Beating Your Ass The “lost" LP re-issued 
This is a totally remastered and remixed second release of 
the hard to get first LP which came out on Devour 
Records of Japan in 1999. An over the top wall of thrash. 
Brutal no-holds-barred sonic assault. This is the most 
powerful material by the. most intense band in hardcore 
today. CD contains all Nine Shocks’ recorded material 
other than the Paying Ohmage LP. 38 tracks total, 

CDHCsfol 11 ^ 7 3nd C ° mP traCkS ' LP HC12M * 

MISERY The Early Years Incl. the Born, Fed, 
Slaughtered, Blindead, and Children of War 7"s, the 
Misery side of the split LP with SDS, and the Production 
Through Destruction LP. 71 Minutes of Amebix style apoc- 
awtjccrust Spirt release with Crimes Against Humanity 


VITAMIN X Down the Drain Second full length 

Fast intense Hardcore from Holland. The perfect mix 
ed S e ^ outh crew and fast-core thrash. 

LP HC1207 £ CD HC5007 


HOLDING ON Just Another Day LP / CD Crucial hard- 

core from Minnesota’s Holding On! Mixes the crunch of 
Judge and Chain of Strength with the anger and raw 


>owerful l 


WOLFBKIGADE Progression/Regression Havoc 1 records - 

hrinnrc v/aii moro nn Cuia/Jia U 1 » in. ixi _ i w u>> 


brings you more savage Swedish Hardcore. Wolfbrigade 
(formerly known as Wolfpack) shred your 


plit release 

33 £ CD HC5003 


tally pissed off, raw. 
with THD, Havoc ana 


Killed by the Kids One of the best bands in 


IT'j'p ,J "" u "" »*wnpoi»n/ Mneu yuui ears with a 

total Scandinavian d-beat crustcore assault. Vinyl ver- thrash/ HC/ punk. ExcelTent pro 

"--^wSy^S^TSfilSSS — C,2G2 * CDHC5002 


hardcore today. Amazing second LP of early 80$-style 
thr a sj^ HC/^gunk^ ExcelTent production, Pushead i 


o^ermanjJ 


CAUSTIC CHRIST S/T Two guys from Aus Rotten, 1 

from React and 1 from Submachine combine to create a 
new hardcore powerhouse. Combining the stylings of 

OQ rlw ^ArrAc inn r\4 PAnfAfmli.. ....'iL X O . f - P 


early Corrosion of Conformity with fa ster SwedTsh'ITa rd- 
core_resulting in a manic HC sound. HC 7028 


RIISTETYT Tervetuola Kuolema One of the great 

Finnish hardcore bands of the 80s returns. No weak 
rehash here, full on hard driving Finnish style hardcore 
that put Tampere on the map! Licensed from Fight 
Records, remixed with a bonus track! HC 7027 


VARIOUS ARTISTS When Hell Freezes Over 

Compilation LP Featuring Code 13, Misery, Dreadnaught 
Onward To Mayhem, Arden Chapman, Segue, Feed the 
Machine, Scorned, Calloused, Fallen Graces, & Pontius 
Pilate. All new material by 11 Minneapolis punk/ HC 
bands. Styles vary from street punk, to crust, to grind 
but it’s all punk and all Minneapolis. Split release 
betweeriHayoc, Sin Fronteras, and local bands. HC1201 

CODE 13 Complete Discography 1 994-2000 All the 7"s 

and comp tracks with one unreleased song. CD HC5001 


ASSEMBLY OF GOD Submission Obedience Denial 

New band with members of Brother Inferior, Burnpile 
and Subsanity. Fast punk/HC a lot like the later Brother 
Inferior material. HC7026 

VrrAMIN X People that Bleed Third 7” by this 

Dutch SEHC band. Fast HC sound similar to DS-13 or 
L'^s Halt. Great political SE lyrics and high energy HC. 
HC7025 

TEAR IT UP S/T Ex Dead Nation, killer fast hardcore 

with lots of drive and energy, HC7024 

DS*13 / CODE 13 13 song split 7" Sweden and 

Minnesotajinited in fast, raw hardcore pride. HC7023 

REAL ENEMY / HOLDING ON Twin Cities 
Hardcore split 7" Political straight edge and youth crew 
hardcore. HC7022.5 

NINE SHOCKS TERROR Mobile Terror Unit 7" 

EPAwesomerew fast thrash from Cleveland. HC7022 

KAAOS Nukke Re-issue 1985 Finnish HC, classic 

stuff. HC7021 

CLUSTERBOMBUNIT. and the Dirty Little 

Wfajons 7" EP Brutal dis-core from Stuttgart, Germany. 

UNITED SUPERVILLAINS (USV) Escapist 7" 

EP crucial fast HC similar to old Boston bands like DYS, 
Sie^indSS^ulk£eed^headM1C7019^^^^^ 

SPAZM 151 S/T 7" EP Second 7" by this Texas HC 
powerhouse. Hardcore like Black Flag, Poison Idea 
ot_Battaljon_of Saints. HC7018 

DEMON SYSTEM 13 Aborted Teen Generation 7" 

EP U.S. press of this amazing Swedish hardcore band, 
fastaggrgssiyg powerful old-school hardcore. HC7Q17 

CODE- 13 A Part Of America Died Today 7" EP Third 

and best EP from Minnesota thrash punk defenders of 
th^faitMwelve^ongsJ^ 

TAMPERE SS Kuolutt & Kuopattu V EP Demo and 

comp tracks from this crucial Finnish hardcore band of 
theearlyjOs. HC7015 

TAMPERE SS SS Sotaa 7" EP More incredible 
Finnish thrash hardcore first released in ’83. HC7014 

NOTA/BROTnER INFERIOR split 7" Tulsa, 
Oklahoma's best hardcore old and new. HC7013 

PROTEST! S/T 8 track EP Originally released as a 
demo in 1983, this is Finnish HC in the classic 
Pro£aganda - Recordsjtyle. HC7012 

HEIST Pain Is Causing Life 7" EP Wicked fast and 

brutal HC in the Infest tradition. Second EP by this 
Australian thrash outfit. HC701 1 


DISTRAUGHT S/T 7" EP Brutal heavy hard-core 
from Brooklyn, NYC. New remixed second press with 
bonus track. HC7010 


MURDERERS S/T 7" EP Legendary chaos punk/ HC. 
Manic HC-punk like Disorder, much more thrash than 
their recent stuff. HC7009 


CODE-13 They Made a Wasteland and Called it 
Peace Furious hardcore punk from beneath the streets 
of Minneapolis. HC 7008 


H- 100*8 Texas Death Match 7" Snotty, harsh, early 

80s hardcore with a seriously bad attitude. 3/4 of Nine 
Shocks Terror. HC 7007 


MASSKONTROLL Warpath 7" EP Brutal Swedish- 

style hardcore similar to No Security, Doom, etc ex- 
Resist, pre-Detestation. HC7006 


i r- i tr miMenng naracore 

punk. Ex-Destroy but more of a punk/HC sound than 
full-on^rind. HC70 05 


BRISTLE System 7" EP Rip roaring old school 

£unk£jCJronn^ 

AUSROTTEN Fuck Nazi Sympathy 7" EP All-out 
punk attack similar to Varuk'ers, Discharge, 
Conflict.HC7003 


CIVIL DISOBEDIENCE In a Few Hours of 

Madness 7" EP Diverse political punk, similar to 
Conflict at their peak. HC7002 


DESTROY Burn this Racist System Down 7" EP 

Raging political hard-core in the vein of Doom, ENT 
Disrupt. Our first release, from 1992. HC 7001 


To read complete descriptions, hear MP3s, view 
our selection of tshirt designs, or order by credit 
card, visit ijs at www.havocrex.com. 

TO ORDER: Send US Cash or Money Orders payable to ( 
Havoc Records only, no checks! Make sure to give us 
your name, mailing address, item description and/or 
catalog # and quantities. 

POSTPAID PRICES: 7" Records. $3 USA. $4 air Can/Mex. 
$5 air world. LPs: $8 USA. $12 air Can/Mex, $12 suface 
world. $16 air world. CDs: $8 everywhere. Book: $15 air 
USA. $20 Can/Mex. $20 surface world,$25 air world. 
Orders shipped via media mail within the U.S.. Expect 
delivery to take 2 3 weeks. Overseas orders, especially 
surface mail, will take much longer. Bullet belts are also 
available in the USA. You will need approx. 2 links for 
each inch of hip measurement, available in brass. 30c 
each and chrome. 60c each. 


I 






DROPDEAD / TOTALITAR 
SPLIT 7” EP / CD-EP 


JABARA 


WORLD BURNS TO DEATH “Human Meat” 7” 
DAMAD “Burning Cold” Picture disc ( $10 PPD) 
ANTIISCHISM “Antischism” 2xLP (add $2) /CD 
KYLESA LP/CD 

ARTIMUS PYLE “Cold Cold Earth”7” 

DEAD AND GONE “Tv Baby” 12” ( gren vinyl 
repress!) 

SCROTUM GRINDER LP /CD 
HIS HERO IS GONE 
“15 Counts of Arson” LP/CD 
“Monuments to thieves” LP/CD 

rnvAMA m IKir^U I IMP 



Why We wish 12” Limited 


SUNDAY MORNIGN EINSTEINS 
Debut 7” Blazing Swedish Hardcore 
punk! 


ARTIMUS PYLE 
“FORTRESS” T" 


“irritainment” LP/CD 
AVSKUM “ In the Spirit “ LP/CD 
DAMAD “Rise and Fall” LP/CD 
write for complete catalog// 

IP’S =$8 US/ $10 Can/Mex $14 World Postpaid 
(DAMAD PICTURE DISC- $10 US/ $12 Can/Mex/ $16 World 
CD’S =$10 US/ $11 Can/Mex/ $12 World ppd 
7”=$3.50 US/ $5 CAN/MEX/ $6 Worldppd 
no checks please 

Prank-P.0. Box 410892 San Francisco, CA 
94141-0892 USA 

Direct Distrlbtuion/Wholesale via NlordamRecordsc- 
www.mordamrecords.com also try ebulllton, 
Revolver, existence ,ete,etc. 



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Flesh PeCkS Four Zippy Songs 
7" IP on CLEAR vinyl snr-btuoo3 


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US and Canada - 1 record $4.00 ppd / 2 records $ 7.00 ppd / 3 records $10.00 
International orders - 4 record sets ‘ — ‘ ^ ~ 


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Sangre de los Puercos 

"they lie we die” ep 
7 tracks of lo-fi gut- 


rH£ E£wJChi£? "C^uTCFjieocf'cb. 
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wrenching raw hardcore punk from NYC. 
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CITIZENS ARREST and blend it with 


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cash or M.O. made to 
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contact for wholesale / trades 

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UTTERS _ 

Send letters to MRR, PO Box 460760, San Francisco, CA 94146-0760, or to maximumrnr@mindspring.com. No response guaranteed, 



MRR & Mike Thorn: 

Hey, the green suits finally 
issued me the big box of 
MRR back issues I went 
through hell trying to get my 
claws on it. I swear, they saw the cover of 
an airplane droppin’ bombs (one being 
the Statue of (false) Liberty) and their 
brains bled out in a fit of rage at one who 
would dare question the determined (in 
King Jr.'s mind... or gluttonous need to 
shed lifeblood) dismantling of 
another”enemy!’ nation by unhinged metal 
encased malicious entropy painted with 
stars and the primary colors of the world’s 
rabid dominators. I merely mentioned if 
the caption “drop ’em on Iraq” was embla- 
zoned on the page they would smile and 
comment on how “refreshing” it is to see 
a convicted man embrace the cleansing 
power of nationalism. Ugh. But, I got them 
all, after much scrutiny by police micro- 
scope lenses looking for “promotions of 
violence...” Oh, and many grimaces were 
flown on seeing a picture of The Snobs 
7”! Hooraw for artificial protest! So, 
thanks Mike... 

It was pretty cool to get to read of 
so many great recent tours by exception- 
al bands in that stack, definitely a great 
addition to the zine in the last year or so 
are these diaries. The Vitamin X text had 
me knee-deep in delight over the descrip- 
tions of Felix, G.S.M.F. and driven 
authentic hordes of youth enraged har- 
assing the badges at that thrashfest. I 
think reading the layout of Sir Havoc’s 
house was prize enough! (Serious dude 
eh?) But the WxHxN? diary was a gift to 
this prison bunk punk un-drunk... and 
having also the nerdy pleasure to have a 
new column of mine in that ish too! I 
thought they went well together. Oh, 
somehow I seem to have stumbled upon 
something, because of my “Multiple 
Tasking...” column I’ve gotten a slough of 
new pen-friends, and a handful are teen- 
ish punk gurls who think I’m really cool... 
now imagine if I was thee ol’ drummer boy 
to the classic MDC. But I’m not... so 
groupies stress me out! I’m just kidding... 

I mean come on, prison punx are irre- 
sistible! 

Enough goofin’ off, much gratitude 
to the MRR gang for once again allowing 
a young brother the forum to discuss his 
thoughts and in the process connect con- 


nect with a lot of new people. And MRR 
readers, thanx for smashing stereotypes 
and writing to my fag-butt. 

Just want to say... freedom is still 
possible in this global tragedy... stay 
focussed! And as the hard guys of peace 
mongering say... “peace + love + more 
punk songs!” 

Oh, and Anonymous Boy and his 
disgust at products being sold on TV 
through “humorous” homophobia makes 
me sooo glad I’m not one of those Will 
and Grace sham-fags! Fuck fag jokes... 
instead simply fag-fuck kisses... all bi- 
curious please do write for entry-level 
inquires! How do you use a SHARPIE? 
The uncurbed Neil of Wiener Society 
1 Zine 

Neil Edgar K61832, 

A3-246, PO Box 409000, lone, CA 
95640, USA 

Dear friends from MRR: 

Once again, thanx a lot for 
the review you made about 
the Zoop! I sent. Here’s the 
latest one. I would like to find 
time to make an English written one but 
it’s nearly impossible because I’m alone 
day after day working at the fanzine, dis- 
tro stuffs etc. You know what it’s like... I’m 
always surprised, for ten years that I 
know MRR, of the huge quantity of infor- 
mation you’re able to publish! It’s simply 
crazy! Anyway, it’s always great to see 
that you talk about my work with good 
words and I feel very glad for you. Grr... 
Sorry for my English... I’d probably rather 
say that I’m proud to see that you pay 
interest to Zoop!. As now Maloka is dis- 
tributing your zine in France, it is cheaper 
to obtain it. They’re friends so I will see if 
it’s possible to obtain a couple of MRR 
under some sale or return terms. I don’t 
know if they sell a lot as there’s only a 
minority of people who read in English but 
anyway, it’s cool that a DIY distro now dis- 
tributes it! Find enclosed some flyers and 
stuffs to spread around. We’re always 
looking for new penpals and punk 
activists to celebrate. Maybe you can tell 
a word about that in your reader’s part. 
We live in a legal squat in Lyon (called 
Gourbi, it’s an autonomous place with col- 
lectives and people who are daily living 
here) and it would be a pleasure to plan 
concerts for bands who are going to play 


in France / touring Europe. I also can try 
to help bands find dates in our country. 
The only thing we ask is not to ask too 
much money as we prefer to plan tour in 
the squat / alternative scene as we’re not 
used to care about bigger stuffs, even if 
we understand that bands obviously pre- 
fer to play in bigger venues. This is simply 
not, as an infoshop, the network we’re 
used to working with. I would also be very 
happy to begin some correspondance 
with American punkers and alternative 
persons. It could help make to practice 
my english. We’re OK to invite anyone to 
our place (very nice country side around, 
mountains, Switzerland isn’t that far 
south, Italy and Mediterranean neither) 
because I can’t unfortunately can’t afford 
to go to the USA. I really would like, but 
it’s simply impossible to run a DIY activity 
and to find the money to travel so far! OK, 
that's all for now. Thanx a lot for informing 
your reader that I’m looking for corre- 
spondents worldwide. Sorry for the mis- 
takes, I type very quickly as I’ve got tons 
of people to answer to! 

Cheers, 

Fluck 

3, rue Lazare Carnot 

01-000 Bourg-en-Bresse, France 

lebokal@free.fr 

MRR: 

I have been bored and 
annoyed enough times by 
your letter column and I 
guess the most obvious thing 
for me to do would be to try and write 
something intelligent. This has to do with 
Asian punk, more specifically India. I 
guess maybe I should explain a little bit 
about myself and why I care about India 
before I start. My father immigrated to the 
US from India. I am half Indian and I 
belong to a name of people that come 
from a place called Kerala, an Indian 
communist state. I am just bewildered by 
the zero presence of India internationally 
and nationally within the punk community. 

I am well aware that there is an estab- 
lished network of punk scenes through a 
large portion of SE Asia, I know that fur- 
ther north’there are punks in China. So 
why don’t I ever hear of Indian punks? I 
can attempt to try and answer this for any- 
one who cares. I believe it has to do with 
the extreme class division that exists in 





India and the amount of poverty that I 
see. It seems to me that the only people 
in India with the capital to buy punk music 
and the access to punk are those of high 
wealth. Most likely their knowledge of 
punk would come from the internet and 
crappy old MTV, and so would in terms of 
substance not be discernable from 
Brittney Spears and Blink 182. So unless 
these people have a direct western link 
they would have no knowledge of bands 
like Infest, Destroy, Life’s Halt or bands 
that have more fame like Black Flag or 
Minor Threat. The people living in India 
that are encompassed by the politics of 
punk rock can scarcely afford electricity, 
let alone learn english and invest costly 
interest in punk rock. It’s funny though, 
because I’m sure that if those people ever 
tried to protest against their government 
they would probably be massacred as 
they are so easily replaceable. But any- 
ways maybe I’m wrong and I’m just igno- 
rant about any possible Indian punk 
scene. If so someone please contact me. 
Next I would like to talk about the minimal 
representation of India in your magazine. 

I realize I am sounding overly PC and 
annoying, but here’s the deal: I know that 
MRR is an American magazine and 
American politics have more relevance, 
but the events that are going on in the last 
couple years in India may be more seri- 
ous overall. India has been in a nuclear 
cold war for some time and it seems like 
nobody cares over here or don’t know shit 
about it. Soon it will have a larger popu- 
lace than China and I’m sure will have 
hands down the largest number of home- 
less and jobless in the world. Already, the 
largest slum in Asia (possibly the world) 
exists right outside of Mumbai. And I 
guess what I’m trying to say is it feels like 
when it comes to India the country is 
super double royally fucked, and it does- 
n’t seem like anyone, including any of the 
punks and anarchists, care at all. And you 
might think I’m exaggerating, you’re prob- 
ably thinking its not so bad, Tijuana is 
worse or some other place that you might 
have seen when you crossed the border, 
well I’m not exaggerating it has to be 
seen to be believed. I think I am the only 
person I know of out of the entire LA, 
Orange County, and San Diego punk 
community with Indian blood. I know 
there has to be more, we are not such a 
small minority that we do not have a voice 
in this community. Punks of Indian 
descent please contact me, I wanna know 
that we exist outside of mathlabs, cabs, 
hospitals, and 7-11 ’s. Thanx for your time, 
Amarchron Shakti 


Dear MRR readers: 
Yesterday, a good friend of 
mine, Gary Hall, was 
jumped on and beat down 


by officers here at Standish Max. 
Correctional Facility in Michigan. He suf- 
fered a large, serious head wound, 
bruised rib, and a severely sprained wrist. 
He open-hand slapped an officer that had 
previously lied and set him up to go to 
segregation. The main abusive officer 
was Collier, who is 6’3” and 265 lbs. of 
brute muscle. He slammed my friend on 
the floor, stomped on his head with his 
booted foot, punched him several times, 
and wrenched his wrist after he had 
already been hand-cuffed. It was an open 
and shut case of excessive force, but will 
any negative repercussions be handed 
down to this brutal thug? Fuck no! He will 
probably get a promotion. 

Collier has a very, very long histo- 
ry of violent behavior. Within his ten years 
of working for the MDOC, he has been 
cited for at least fifteen assaults on pris- 
oners. He choked a prisoner out, he 
jumped on and beat a prisoner with 
another officer and broke his jaw (requir- 
ing him to be on a liquid diet for three 
weeks) He has tackled and repeatedly 
punched several prisoners while breaking 
up fights, or simply escorting them to seg- 
regation, and he has opened segregation 
prisoners’ doors with no warning, and 
went in their cells and beat them down 
like he was in bar fights. Two years ago, 
Collier was charged with a felony, assault 
with intent to do great bodily harm less 
than murder, for beating someone down 
in the free world. Numerous corrections 
officials testified on his behalf, extolling 
his “professionalism” and “ethical stan- 
dards” and the charge was reduced to a 
misdemeanor assault, so that he could 
keep his job as a violent, brutal, corrupt 
thug. 

Many people try to paint prison 
abusers as racist. Not so. Collier is Black, 
and his victims have been black, white, 
and Latino. He is a corrections officer; we 
are convicts. He will continue to assault 
and maim us, because he isn’t held 
accountable for his actions. Nothing will 
change until tax payers, and friends and 
families of prisoners, demand a change. 

Contact your state and U.S. 
Congress members, join a prisoner help 
group, or try to find and assist prisoners 
trying to make a change from the inside. 
Only by pressure from outside individuals 
will a change occur. 

My friend, Gary, is chained to his 
bed like a dog right now. Don’t let him 
struggle on alone. 

If you would like to learn more 
about this environment, or how to help 
stop the prison industrial complex, write 
to me at: 

William Migala #213215 
SMCF, 4713 W. M-61 
Standish, Ml 48658 



© Hello Maximumrocknroll: 

This letter is from a country 
called the Republic of 
Belarus (or simply Belarus) 
and I hope it came to you. 
Our country is part of ex-USSR and I 
think you have heard about it. My name is 
Dmeetry (or Deema) and I am from 
Minsk, the capital of Belarus. I’ve gotten 
information about your ’zine from the 
band Naive (I’m sure you remember that 
band from Moscow) about three to four 
years ago, but decided to write only now. 
The reason of that letter is lack of good 
level DIY (and not only DIY) production. 
Belarusian DIY activity stopped to 
impress me after having a chance to see 
and listen to Western European and U.S. 
’zines and bands. Our DIY makers only 
talk about it, but don’t try to do anything 
and develop something. And moreover, I 
personally know most of them, so it’s not 
informative, but it depends. I wanted to 
know if you make some compilations or 
release albums nowadays, ’cause I want 
to send you a record of the band I play in. 
Sorry for bad English and mistakes. 

P.S. This letter is short because of my bad 
knowledge of English. I wanted to write 
more but... but I hope you’ll understand 
me. Good Luck! Bye! 

Deema 

220073, Belarus, Minsk 
Pritytskogostr., 18-2-27 


© 


MRR : 

This is in response to Jake 
Filth’s review of Grimple’s Up 
Your Ass LP, which was 
recently rereleased by Ken at 
Prank Records. I, and the band, think Jake 

_ i_ ...u ./-.lx Iko rfimrrl rnwia\A; anrl 


not judged us personally as he sees us 
today. I thought punk was doing, dressing, 
and being however the fuck you want to 
be. We saw Filth in New Mexico for the first 
time in 1989-90. Fuckin sick. The whole 
band was cool as fuck, Jake especially. 
We (Grimple) looked up to him. Once we 
moved to the Bay Area, we were stoked to 
become friends with that guy, and we 
endured some crazy parties and times 
together. We as a band never said any- 
thing but good things about Jake Filth. He 
moved to our hometown (Santa Fe, NM) 
for a few years. He came back to Oakland 
and found that we had washed our 


clothes, got jobs that pay, had children, 
and were still playing brutal fucking music, 
just a little more metal. I am not taking any- 
thing away from the guy, but I have to 
question his friendship. He was a role 
model when we were young punx, but I 
wonder how long he has felt this way 
about us? Is he shaking our hands and 
hugging us, but at the same time thinking 
we are beneath him? Our families love us, 
so fuck Jake Filth and others who want to 
pass judgement on Grimple. “Living, 
Breathing, Fucking, and Shitting, Law of 


Life, Do As Thy Will, No Orders No 
Borders No Fucking Commands, My Body 
My Mind, My Choice To Conceal.” 

Pat Grimple 

Dear MRR : 

In issue 238 “someone who 
knows” gives us a lesson on 
identifying and avoiding 
racist bands and their sym- 
pathizers. He ends his letter with the 
statement, “...any kind of patriotism is 
fucking mongoloid anyway.” Well, “some- 
one who knows,” do you mean to blame 
patriotism on people of Asian descent? Or 
perhaps you are comparing the horrify- 
ingly deadly stupidity of nazis to the intel- 
ligence of people who suffer from an 
unfortunate congenital condition? Next 
time you plan on insulting someone I sug- 
gest you use a term that doesn’t put inno- 
cent people down based on their race or 
physical condition. Maybe you could use 
the word idiot. Here’s an example to get 
you started: You, “someone who knows,” 
are an idiot. By the way, before Rob 
Coons and the Gilman crowd get too 
hyped on Nunslaughter you might want to 
know that they did a split 7” and a tour 
with Centinex. On Centinex’s 10” picture 
disc there is a song that mentions just 
how much the band loves to beat up 
gays. I’m not going to bother to further 
investigate these matters, but it would 
seem that Nunslaughter, at the very least, 
is guilty of looking the other way. 
Humberto Sanchez 


Dear MRR / Anonymous Boy: 
Just read your article in #236. 
This is really great work and 
vitally important information 
and ideas to get out there. 
Despite the number of idiots or self- 
destructive types (who don’t blink to take 
others with them), who ignore messages 
of wisdom— there are those that do hear, 
learn, and change. Thanks and props for 
doing something to effect positive behav- 
ioral trends. Thanks for the help. 
Sincerely, 

Garry Erwin 


Dear MRR: 

My name is Roger, and I live 
near Ottawa, Ontario, 
Canada. Our scene is not the 
best in the world. It is domi- 
nated by tough-guy hardcore kids, and 
we only get truly good shows that come 
around maybe once or twice a month. 
What really bugs me is that there are 
absolutely no good stores for DIY music. 
There are I think three independent music 
stores in our nation’s capital that I can 
think of off the top of my head. Two of 
them just have classic rock and shitty 
Epitaph punk, and the other only stocks 


hardcore/grind from Relapse Records 
which is OK, but expensive and not near- 
ly covering the whole world of music out 
there. I do lots of mail-order, but it can get 
annoying... Anyway, this march I’m going 
to Panama City Beach, Florida, and it will 
be my first time out of Canada or even six 
hours away from home. I was wondering 
if anyone there is familiar with that area 
and could give me some tips on where to 
shop for music. If so, it would be greatly 
appreciated. Keep up the good work. 
Sincerely, 

Roger Nutbey 


Dear MRR: 

I’d like to say a little about the 
D.C., northern Virginia area. 
Maybe I’m ignorant of what I 
see around here, but I don’t 
think it’s much. For such a big, populated 
area there isn’t that much. A lot of the 
punk around here consists of “Hot Topic” 
wearin, Rancid hoodies, and big greasy 
mohawks that show they listen to the 
Casualties. D.C. has a lot of commercial 
clubs that play shitty bands like Anti-Flag, 
NOFX, or whatever new MTV band that 
comes around. Dead Kennedy’s and The 
Misfits have come around, that was pret- 
ty decent, and The Goons are a decent 
local band. Most local bands aren’t good 
at all. And DIY doesn’t exist for people 
around here, and I think my parents 
would rather let me shit on the carpet than 
set up a show. Legendary bands like 
Gov’t. Issue, Minor Threat, Fugazi, and 
Bad Brains have been shamed by D.C, 
natives Good Charlotte. Record Stores 
are rare, but there is Smash! records. 
Every time I go there I’m scared of getting 
my ass kicked by the Banana Republic 
bag-boys next door. You could tell there’s 
not much here by looking at any band’s 
tour dates, D.C. area will never be on it. 

Contact me if you disagree or 
would like to set up a show. I would love 
to help, but I’m still fifteen. I would also 
like to comment on Reagan SS, and that 
joke of them being Nazis, well lighten up, 
this is MRR not Rolling Stone. Sincerely, 
Sherwin Shokraei 
SSHSIRP123@aol.com 


Karl Bakla of Las Vegas: 

I was reading through last 
month’s issue of MRR (Feb 
’03) and I came across your 
letter ranting about some guy 
ripping you off. What fucking luck?! I 
thought I lost contact with your punk rock 
ass! Guess who? It’s fucken Muddle! 

The last time I saw you or even talked 
with you was in Las Vegas at your wed- 
ding! (Remember when Jay ate that cock- 
roach?!!) Shit, I lost your phone numbers 
and you never responded to your 
Fugazine emails. Anyways, I thought I’d 







write and hopefully MRRs printed this in 
order for you to contact me! Right now I’m 
fucking incarcerated in one of California’s 
many lame correctional facility prisons. I 
should be out soon though. A lot has 
happened since we last talked and it’d be 
good to hear from you. We still have to 
start a band together asshole and I still 
want that GG poster! Write me! 

R.M. -T72172 
A4-25, G.S. Mccf 
PO Box 1577 
McFarland, CA 93250 


© 


MRR: 

My name is Jesse. I signed 
up on the punk rock and roll 
roster when I was twelve. 
That was 1982. “Prime time,” 
so to speak. At the time I was naive. I was 
young and perhaps unprepared in a way 
for what I was about to discover; I had 
been raised on George Harrison, the 
Byrds, and the rest. Ad nauseum, I might 
add. My parents were enthusiasts (which, 
by the way, I only grew to appreciate 
when I got to college and was able to 
pawn off their originals of the White 
Album , Lynrd Skynrd, or however the fuck 
they like to spell it, and a few others — all 
of whom I like to refer to as “drinks are on 
me tonight”). 

I’m from DC. I toured with my 
band, 555, for a long time before surren- 
dering recently to the family life (happily) 
with my wife and son. But what I did out 
on the road was no more and no less 
important than what all the fuckers out on 
the road are doing right now for the sake 
of ROCK N MOTHERFUCKIN ROLL. My 
point is this: I’m thirty-two years old 
(young, by punk rock standards), and I 
can’t figure out where it all went wrong. 
We had it, man. Sonic Youth? What the 
fuck do kids today know about that? 
Sonic elderly. Pailhead? No. At best, 
Fugazi. I’m sure you get mail like this all 
the time, but I swear to god I was watch- 
ing MTV today for the first time in a LONG 
time tonight and I saw something called 
"Puddle of Mudd” and some Sublime 
ripoff also by No Doubt. Then, as if that’s 
not enough, I bore witness to — I hope 
you’re sitting down — a rock video featur- 
ing Kid “Rock” and Sheryl Crowe. So 
now, imagine what I’ve just seen. 
Imagine, if you will, that I just got here 
from some far-away place: 

ROCK = degenerative art form. 

ROCK = ever changing vicisitude 
(and I’m not talking about Moby or any 
fucking DJ culture bullshit. I’m talking 
about sweat and guitars and drums. In 
that order, arguably). My whole point, 
anyway, is why, with all the good shit out 
there, are we still tuning in to this shit. I 
mean, I’m ashamed to admit that even 
Motley Crue and the like was better than 
the Strokes-type bands. At least they 


were real. Help us. Help us. John Mayer 
needs to be... well, we all know the reper- 
cussions of interstate death threats these 
days, but suffices to say that you peeps 
got the power. Do it, man. Now is the 
time. 

Seriously, can you recall a darker 
period in rock (or any) music history? 
Fuck Rolling Stone and the rest. Now is 
the time. Or never. I would like to help you 
take over the world. And there are many 
like me. 

Jesse Boone 


Dear MRR: 

Just another letter to say 
“keep up the good work.” I’ve 
been into punk since I was 
thirteen in 1978, and done 
fanzines and newsletters since 1983. (My 
20 year celebration issue of Have A Good 
Laugh featuring huge interviews with 
Superyob and Oi Polloi will be out in May, 
priced $4 air ppd, and the first 100 pun- 
ters get a free 25 track street punk sam- 
pler CD— from address below.) 

MRR is unique in many ways, as 
many other big mags are either too arro- 
gant to allow different forms of music to 
be covered, too “big business minded” to 
allow small classified ads and letters from 
their punters (who are let’s face it, are the 
most important people in punk rock, for 
without the punters there would be no 
records, gigs, etc) and sometimes (men- 
tioning no names — Hit List\) thought 
themselves “above” reviewing small label 
bands (the Barse CD I sent them never 
appeared, maybe if I took out full page 
ads...) Meanwhile the closest UK equiva- 
lents of MRR (Fracture and Reason To 
Believe) have all but outlawed punk in its 
original form— I’m talking the stuff thbt 
first got me into punk, the 77 gear with 
the great sing-along choruses, where no 
band aped another. Both of these mags 
seem to have a policy whereby anything 
that isn’t Emo or HC (Fracture), or HC 
(Reason to Believe) must be ridiculed. 
Now I know I’m not very open minded 
musically — in fact I can only listen to 77 
style/street punk/Oi! bands (but note that 
I only listen to new bands) but if I had the 
time to put out such a mag, I would be 
embarrassed to fuck if I was high and 
mighty enough to only allow one form of 
music. This is another reason why MRR 
is unbeatable— despite the editors being 
into “shout shout” music, they are fair 
enough to let people like Bruce Roehrs 
and Tim Brooks cater for us music lovers, 
and in doing so, are keeping MRR from 
being a one trick pony. 

How you manage to put out some- 
thing this size every month with so much 
reading in I’ll never know, but I thought I’d 
let you know you’re not being taken for 
granted. Never give up! But can I make 


one small suggestion — that you could 
invite labels to say whether they trade 
when sending in review material, then 
you could print “TR” after the review so 
that small distributors (or other labels) like 
myself don’t waste our time and money 
contacting someone who turns out to be a 
subdivision of some huge label or 
Mordam World Domination Exclusive 
Contract lucrative set up who would never 
deal with the likes of us in a million years! 
Cheers! 

Trev 

Rosehill 

20 New Front St. 

Tanfield Lea, Co. Durham 

DH9 9LY 

England 

RS. Labels contact me for small trades— 

I have Ltd Harry May Oi! 7”s, Step 1 CDs, 
old Knockout stuff, Barse 1st CD and 
many more. E-mail trevhag@hotmail.com 
for details 

Hey Maximummrocknroll-ers\ 
In reply to Felix 
Havoc’s interesting article 
about CDs being bogus like 
condoms— I would like to say 
that CDs, like tapes, give artists way less 
expensive control to learn how to manu- 
facture their music themselves in a much 
better format of audio quality and capabil- 
ity, and CDs don’t contain polyvinyl chlo- 
ride in them as far as I know. If anyone 
wants to claim that records don’t, I would 
be curious to see proof. It seems to me 
that records are a waste of space and 
resources and are also toxic. There is a 
book that you can check out from the 
library about keeping toxic chemicals out 
of your household. Most people don’t 
know that polyvinyl chloride is a top- rank- 
ing toxic chemical. I feel sorry for the col- 
lectors of vintage used records who have 
these things sitting and rotting in their 
sleeves. I see hope for CDrs actually. 
First of all, CDRs make it easier for bands 
to do things themselves. Also, CDrs are 
easier to manufacture than tapes. I agree 
with what Felix is saying about CDs being 
less expensive. They definitely should be. 
We also should support new ways of 
packaging CDs because it gives artists 
more DIY control over their music. If any- 
one would like to prove that CDs are 
more toxic than records, please do so 
and I will shut up forever. Oh, please wear 
a condom if you must fuck, better yet, 
consider not fucking. Since when was the 
punk movement ever about fucking any- 
ways? Also, if a label can afford to make 
CDs and records, are they really a punk 
label or are they just another rock and roll 
or pop label? Long live 
Maximumrocknroll, 

Just another vegan straight edge person, 
Joey First 
Mediattack! CDs 


Dear MRR , 

I’ve been wanting to do this 
for a while. Well, I’ve finally 
been pushed over the 
edgell’ve been an avid read- 
er of MRR since I was 1 3. I am now 22, 
and continue to enjoy it! One of my 
favorite sections is the “Classified.” One 
thing I have always loved about the punk 
“scene” was people willingness to com- 
municate no matter where they were 
from. I love writing letters and receiving 
them. It can be a very personal experi- 
ence. Everyone writes and speaks differ- 
ently, it’s a form of art. However now, at 
■the end of every article all you see is “Bla- 
bla.com.” People have become so 
enveloped in the laziness and supposed 
security of their plastic computer worlds. 
Corperate owned and operated! I would 
rather buy a stamp and support a public 
union such as the post office than support 
a tech-head at IBM or Microsoft. People 
are becoming seclusive and distrustful by 
the moment. Let’s leave our punk com- 
munications open and personal. Instead 
of hiding behind a corporate computer 
screen! 

Peace, 

Chad Beverlin 
#424-439 
PO Box 8107 
Mansfield, OH 
44901 

Hi Arwen/Mfifi: 

I know you’re probably busy, 
so I’ll keep this as brief as 
possible. ..The MRR music 
library has become more 
than a mere record collection. It has, due 
to its lengthy existence, become a 
chronology of punk rock itself; a reposito- 
ry of alternative music from around the 
globe for over two decades. The problem 
is, as a “library,” the MRR collection 
stinks. Its contents are unaccessible to 
the vast majority of punks and its treas- 
ures are vaulted away for all eternity. Of 
course, I realize that there’s a reason for 
this. As much as I hate to admit it, there 
are a lot of dishonest and unscrupulous 
punks out there, and I can only imagine 
the carnage that would result if the library 
was opened to the public at large. Which 
finally brings me to my suggestion. I pro- 
pose that once a week, an item from the 
library be ripped, encoded in MP3 format, 
and posted on the MRR website in its 
entirety. It’s a quick and simple task, and 
a month’s worth of postings could be cre- 
ated in one afternoon. Of course newer 
releases would not be posted, nor would 
anything by actively recording and touring 
acts be posted (not trying to step on any- 
one’s toes). I feel that the benefits of this 
would be many. It could give exposure to 
underrated and underappreciated bands 
and their music. It would make the MRR 






archives available to anyone with an 
internet connection; that in turn could fos- 
ter a greater sense of community and per- 
sonal connection with the beast known as 
MRR. Finally, it would be a good way to 
give the middle finger to the EBay collec- 
tor types who have taken our scene and 
our music and turned it into a lucrative 
business, commodifying it and selling it to 
the highest bidder. Anyway, that’s my 
idea. Hope you don’t think it’s too corny. 
I’d love to take on the task myself, but 
being that I’m in Iowa creates a small 
logistical problem. Thanks for reading and 
keep up the good work with MRR. 

I’ve been reading it now for fifteen 
years and I hope to continue for another 
fifteen. 

Jeff 

MRR: 

Brian from Grand Theft Audio 
here with a message to the 
general punk public about the 
band Demob who had pub- 
licly spread falsehoods about their agree- 
ments with GTA, questioned our reputa- 
tion, and basically messed GTA around. 
Though I had held off telling my story in 
MRR , I was left without much choice as 
the band have forced my hand by going 
around behind my back to set up illegal 
deals for the same material without notify- 
ing the other labels of their pre existing 
agreement with GTA, thus placing any 
label who released the same material in 
legal hot water (Something Andy now 
claims he will no longer do. ) 

Back in May of 2001 after much 
searching I located ex-Demob member 
Terry (I have always dealt directly with the 
bands to make sure they get money and 
have final approval. ) Terry had been out 
of the punk scene for almost 20 years and 
had no knowledge of there being any 
interest in Demob outside the area. Terry 
as well as Mark and John soon agreed on 
GTA reissuing their old material, and a 
contract was signed. Because of my 
encouragement Terry now decided to 
reform Demob. I had wanted the record- 
ing line up but Terry told me that John 
Melfah the drummer and vocalist Mark 
were not up to it. Eventually Terry put 
together a line up which included a new 
bassist and drummer along with their 
original vocalist Andy, whom I knew noth- 
ing about, but was told had been replaced 
before they had recorded. I was then told 
that besides the old recordings, they 
would be recording six new tracks for me. 
Doing numerous things to push Demob, I 
had also secured them a slot for Holidays 
In The Sun in Blackpool. By early 2002 
Demob would start pulling some rather 
uncool moves as unbeknownst to me, 
though I would find out through friends, 
Andy had gone behind my back with 
Terry's consent to try to release material 


signed and promised to me on another 
label, Upstart Productions( it should be 
noted that the band kept acting like things 
were still on as planned). I contacted Josh 
from Upstart and he turned out to be a 
good guy, removing himself from the proj- 
ect. It seems they were telling Josh that i 
was a flake (funny that Terry said the 
same of Josh but the truth was that Josh 
had not been flaking on them either) and 
was making no attempts to complete the 
project, all completely untrue. I found out 
the reason they had done this was that 
they were afraid that their CD would not 
be out in time for Holidays In The Sun, the 
extreme irony being that because of me 
they had reformed, were playing Holidays 
In The Sun, and the only people dragging 
their feet on the project were Demob. I 
contacted Terry and Andy and received 
these two apologetic responses in April of 
2002. 

"Hi Brian 

Can i put things straight , / am 
aware of how busy running a company is 
, I manage a service for the community 
where I live and it is very demanding for 
me, so I can imagine what you are doing 
with all the projects from around the 
world. I am extremely grateful for all your 
time and effort you have been putting into 
Demob and I apologies if Andy or I have 
made you feel we insulted you integrity as 
a professional in the music industry. I will 
speak to Andy about this tonight after 
work. I did try to explain to you that Andy 
is like a loose canon, this can sometimes 
be misinterpreted by the person he is in 
communication with. He's the type of per- 
son who likes to see things done yester- 
day I reiterate I am sorry if you have been 
offended and do hope we can continue 
with the support and help for GTA that has 
help get Demob on the road again. 
Regards 
Terry " 

li Hi Brian 

First of all thanks again for the 
call, appreciate the personal contact; I 
want to clear the air with you after speak- 
ing to Josh and Terry. I have always been 
someone who gets on top of a job and 
sees it through because I believe it needs 
to be done, I did all the chasing when 
DEMOB first formed back in 1979, and 
I'm doing the same again this time 
* around , also with a family in hand. It's just 
a pity that we never had personnal con- 
tact earlier, I'm sure that we could of got 
this wrapped up by now. I do not doubt 
your credentials, and your track record 
speaks for itself. 

We have decided to go back to 
the original plan and let you put this thing 
together, the only condition we are stipu- 
lating is that the CD be ready for Holidays 
In The Sun, UK. Let me know in due 


course what you want me to do so we can 
get things moving, we have to turn this 
crawl into a rampant Buffalo with his balls 
just chopped off, go for it Brian. 

Oi Punks Later 
Andy K DEMOB ” 

Both members also apologized 
over the phone with Andy saying that 
Terry is someone who does not always 
get things done and if he had been put in 
charge none of this would have happened 
(ironically I had previously contacted 
Andy but he never responded). I stressed 
that if they wanted things to continue with 
me that they had to start co-operating to 
get-this done as originally intended other- 
wise I would release them from their con- 
tract before anymore of my time or money 
was wasted. I was assured I should pro- 
ceed as originally planned. Demob would 
never see their CD out in time for 
Holidays In The Sun because every time 
I asked them about photos, etc to com- 
plete the CD I was led in circles. Next 
thing I knew they now no longer wanted 
me to have any new recordings. Andy 
clearly stated that they had absolutely no 
interest in the old recordings that him and 
the two new members did not appear on, 
telling me to deal with Terry because the 
other members had no interest or say on 
that material. Terry agreed to go ahead 
and honour releasing the old material on 
GTA. I was not happy with them breaking 
their agreement to supply new recordings 
but figured if they honoured the rest of the 
agreement to give the old material exclu- 
sively to GTA then I was possibly willing to 
overlook their transgression. 

Soon though I was told that the 
other members were complaining to Terry 
that they now wanted rights to the old 
recordings that they never appeared on. I 
called Andy and he informed me that they 
would be releasing both the old material 
that Terry had signed over exclusively to 
GTA along with the new material and 
there was nothing I could do about it 
because his decision was final. When I 
asked him why he had gone back on 
every agreement he had made, his 
response was basically that he was “look- 
ing out for the band.” 

He then told me that I had not done much 
for the band but that we could still be 
friends. At this point I had spent alot of 
money/time on Demob, and now felt they 
were trying to brush me aside. I contact- 
ed Adi from Punknite/NY Rel-X (along 
with other US booking people) to let them 
know that I was contacting the proper 
authorities to make sure that any US 
Demob tour would not happen. Adi con- 
tacted Andy to inform him that any tour 
plans were now on hold unless they could 
work things out with me. Andy then pub- 
lished my email on the Punk and Oi in the 
UK website without an explanation trying 
to make me look like some sort of irra- 



tional person out to harm the group for no 
readily discernible reason to build up pub- 
lic pressure against my actions. Once my 
side of things was also published on the 
site next to their's, Andy gave a response 
stating that they never intended to give 
me the material exclusively and that he 
never tried to cut me out, which was total- 
ly untrue. Next the band started saying 
that I only had the rights to release the 
material in the USA, Japan, and Europe, 
and then that changed yet again, as if 
they could change the terms of the agree- 
ment whenever the mood hit them, which 
is not only illegal but is also unethical. 
Then vocalist Andy sent me an email in 
an attempt to make it look like they were 
fully co-operating and that things had 
resumed on a friendly basis between us, 
forwarding said email to other people on 
his mailing list such as Adi/Punknite. The 
bottom line though was that nothing had 
resumed on a friendly basis and the band 
were still ignoring their obligations to 
GTA. 

A friend of mine happened to run 
into ex-Demob bassist Andy Jones, 
informing him of our problems. I called 
Andy Jones who agreed with me that 
what Andy Kanonik and Terry had done 
was wrong and he would have a word 
with vocalist Kanonik. (It should be noted 
that Andy Jones has continously told 
them to just apologize and buy out their 
contract. ) I was told by Andy Jones that 
Kanonik wanted to clear things up. When 
I called Andy Kanonik he expressed great 
remorse for the way things had gone 
sour, said that they the band were fully to 
blame and were wrong to break agree- 
ments. He also agreed that a public apol- 
ogy from the band to me was in order as 
well as them reimbursing me for my 
time/expenses on things like artwork, 
phone calls, so we could go our separate 
ways. Unfortunately I received an email 
several days later from Andy claiming 
they were only a small band in it for punk 
not the money, that I owed them an apol- 
ogy, should have paid them a “monetary 
advance as most labels do,” were happy 
for me to release their CD, and that i was 
trying to interfere with people enjoying 
their music for my own “financial gain.” Of 
course I will point out that while the band 
was stating they wanted me to release 
their material their actions proved other- 
wise as they had knowingly contacted 
some of my distributors in an attempt to 
takeover my distribution on this release 
as the band must have thought my dis- 
tributors would bypass me to do business 
with Demob. This was directly the oppo- 
site of what Demob were claiming on their 
wfebsite, which was that they would not 
try to contact my distributors to sell their 
CD. As well Demob complained on their 
website that i was frightening off distribu- 
tors who wanted to deal with Demob. The 


truth was Demob are obscure footnotes 
and many distributors do not want to deal 
with a label with only one small release, 
that is priced around $12.00 wholesale for 
a 28 minute DIY CD (their mailorder price 
is $18.00 in the UK and $22.00 for the 
US, where Demob previously had 
claimed they would not try to sell the CD 
though it should be noted that in the last 
couple of days Andy has removed the 
negative comments regarding GTA). 
They complained that they never got an 
advance but the truth is they were offered 
and were going to get a royalty advance 
plus money for studio time to record new 
tracks but they kept messing me around. 
So now was I supposed to give them an 
advance and possibly lose that too !?! 
Besides would they know what “most 
companies do?” Simply, they did not 
know. The most disappointing comment 
of all was Demob's claim that its only 
about punk rock and that I was interfering 
with musicians to keep people from 
enjoying music for my own financial gain, 
which most people would note is not quite 
accurate since I tend to go after some 
rather commercially unsound and com- 
pletely obscure punk music. GTA will still 
be releasing a superior CD of Demob 
material which will contain alot more 
music and a larger info booklet. Recently 
Andy and I myself had a somewhat hated 
email exchange after which he offered 
once again to make a public apology as 
well as buy out of their contract. 

After many days had gone by I 
heard from Andy again stating that he had 
failed to convince the other members to 
buy out of the contract. He then over the 
course of several emails profusely apolo- 
gized for any of his actions or words that 
were hurtful towards myself and GTA. 
Furthermore he stated he would fully hon- 
our and cooperate with our agreement 
though no word on any of this from Terry 
who had a large part in the mess. As it 
stands now Andy of Demob says he will 
not try to cut any illegal deals of their 
material behind my back but of course 
like anything else that remains to be 
seen. Sorry to everyone for having to 
bore you with these proceedings but 
Demob had left me no choice with their 
actions as well as bringing our feud out 
into the public. 

Bryan GTA 


Dear MRR: 

Fuck man, I just got back 
from this show here with The 
Puke Boys and I Am The Fly, 
and all I can say is — what the 
fuck is wrong with kids today!? I mean 
fuck back when I started going to shows 
back in ’94 shit was so much different — 
now all these new kids come around and 
none of them know how to dress, dance 


nor hold down their booze. The only good 
part was been Myke Hunt from I Am The 
Fly dumped a cup of coffee on this posuer 
who kept on trying to sing along — I near- 
ly pissed myself laughing about it. Fuk’n 
dumbass... Other than that it was a com- 
plete shit evening... fuck I forgot my 
point... Too drunk to care at this point at 
least... Anyways keep up the good work 
as always. 

Jason Felcher 
1853 4th St. 

Bartlett, TN 

PS. I think you should give Floyd a col- 
umn — his advice on the Fat Wreck web- 
site has really helped me through some 
hardtimes. 


Dear MRR: 

I hate cops. Let me tell you 
why. So me and my pals 
were hanging out in the alley 
behind the 7 Eleven here in 
Rossford, Ohio — just minding our own 
business drinking 40’s and having a good 
time smashing glass bottles, when these 
fucking pigs rolled up and put an end to 
our good time. What the fuck right? I 
mean we were just minding our own busi- 
ness, listening to Life’s Halt on our boom 
box, drinking and having a good time — 
and next thing you know they’s got my 
friend Jason Puke in a headlock! All. he 
did was call them a buncha fucking 
pricks! Fuck the cops! This police rep- 
pression has got to stop! Up the punx! 
Ryan Heath 
1296 Front St. 

Rossford, Ohio 43552 


MRR: 

Long time reader first time 
writer. Ok so I gots a bone to 
pick. This one time you gave 
my band a bad review — and 
I was like OK fine whatever, it happens. 
But then you gave my zine a bad review 
too — what’s up with that? “Generic?!” 
What’s so generic about stories about 
traveling, drinking, and interviews with 
bands? This kind of shit would have never 
happened if Tim were still alive! You suck, 
but I still secretly am in love with you. 

Ian Moter 

PS. Arwen Curry writes the best 
reviews — he is honest and knows his shit. 
Fuck Mil^e Thorne, he seems like some 
kinda fag or something. 

MRR: 

Regarding Dave Hyde’s let- 
ter about mohawks. Fuck 
You. Why don’t you go listen 
to fucking Green Day or Kill 
The Man Who Questions, you pussy. 
Love, 

Iowa City Punx 






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STRUCTURE OF LIES/MISERY INDEX CD/12" 


MISERY INDEX FORMER MEMBERS OF DYING 
FETUS & S O L. FORMER MEMBERS OF UNRUH 



Technical death metal influenced by Carcass, At the 


Gates & Suffocation/hardcore parts to hook x-unruh 



MRR:GORILLA BISCUITS / old BAD RELIGION 


PHOBIA “SERENITY THROUGH PAIN 


12" GATEFOLD/POSTER 


STUCTURE OF LIES/IRANACH 


SPLIT CD AZ/NH GRIND 


WALKEN r.02rthe.new.manerism; 



HIRAX "BLASTED IN BANGKOK" 107CD 
PHANTASM "WRECKAGE" 12"CD 


HAWGJAW/MANCHURIAN CANDIDATES 7" 
HAWGJAW "beLIEve nothing" 12" 
•INFEST "LIVE KXLU" 12- 
MAN IS THE BASTARD "MANCRUEL" CD 
NO COMMENT DISCOGRAPHY LP/CD 


HIRAX "EL DIABLO NEGRO" PIC 77CD $5 US/$7 WORLD 


P.O. BOX 6911 
BURBANK CA. 


I DEEP SIX | 


91510 U.S.A. 


WWW.DEE^iiyftRoRDSXOM 

7” $4/$6 1 0*71 2"/CD $8/$10 cdep $4/$6 

next haymaker/fucked up7* phobia infest cd 



LOST 

SOUNDS 


Rats Brains & 
Microchips LP 


Rotten 

Apples 


Real-Tuff 
Durable Plastic CD 


POB 12034 Seattle, Wa 98012 


www.emptyRecords.com 
















In the last issue of 
Slug & Lettuce I wrote 
about rediscovering old 
bands. About digging out 
old records and making 
new tapes and about how 
crucial those good mix 
tapes have always been. I 
listed off a few bands and 
that list has been sticking 
around in my head — 
seemingly incomplete and just not good enough. I listed off Dead 
and Gone, Still Life, and Gag Order. Then last night I read a 
review of a new Dead and Gone record. I had no idea they were 
still together. And Erik reminded me about playing with Still Life 
just a tew years ago. And I saw a Gag Order 7 x/ in the used bin at 
the local record shop. Of course I wanted to buy it, but I already 
have it. And if I were to buy it and hoard it, that only prevents 
someone else from discovering it. The question is — will someone 
else pick it up and love it as much as me? There are so many old 
records that no one recognizes, or even knows who the bands are. 
There are those dedicated to sitting on the floor and going 
through bins — playing the ones that pique their interest. But I've 
always been amazed that I find these records neglected in the 
used bins; records I love, that make me jump when Isee them. But 
I have to remind myself and remember that I already have a copy. 

I listed off Samhain, Nausea, and the English Dogs. When in 
fact they are not lost, 'cause I have never stopped listening to 
those bands. I did forget about Danzig and I dragged out the first 
LP and was reminded how much I liked that record an how 
important that record was in 1989. The Misfits? I never really 
cared that much about them. I saw a sad excuse for a reunion 
show recently and while there were about 15 minutes where I 
thought it was kinda cool to hear these old classics and think 
about the impact that this band has had on so many; ultimately 
all I could think about was how much I didn't want to listen to the 
Misfits and how much more I liked Samhain. 

I can't get enough of Venom lately. The song "Countless 
Bathory" in particular. 

And Nausea. Well I never stopped listening to Nausea. 
They're probably one of the most important bands to me in my 
life of punk rock. They were a band that introduced me to new 
ideas, politics and philosophies and it was all happening right 
then and there as opposed to two, five, or ten years in the past like 
so many of the other old UK Punk and peace punk bands that I 
was also into. Nausea marked my New York years in the early 90s 
and when I listen to them now, at certain times — all I can think is 
about how much of an influence this band had on me and how 
the words that I know ring clear in my head. When I hear, "Dogs 
forced to smoke your cigarettes, monkey's suffer electrical shock" 
I remember just how much that really got through to me, of what 
an impact this band had on me, of learning about animal rights 
and animal suffering through medical testing, and so much more. 
And also of how inspirational it was to see a great band with a 
woman singing. Words can not convey how important that was 
to me, then ana now. 

And the English Dogs... well they have never stopped being 
a favorite of mine and never will. I like the punky punky stuff and 
I like the epic metal concept record. I like it all and have made 
them a soundtrack to many long drives and drunken late nights. 

I used to put one ear to the speaker trying to understand the 
words ana now I'm dragging out the records for anyone who 
wants to hear them. We're talking about those all time favorite 
bands — the ones that easily make the "desert island" lists and all 
time favorite lists and all tnat. 

It's the rediscovery of bands almost forgotten that are even 
more fun. The one record by a band that I filed away and haven't 


listened to in X amount of years, but when I do, I seem to know 
every note. That is the kind of thing that I'm excited about. And 
one band leads to remembering another. Sometimes I have a ter- 
rible time remembering what I records I actually have or the titles 
of the records a favorite band has done. It's common for me to 
hear something that I love and know well, but not be able to iden- 
tify it. Sometimes it makes hearing it again all the more exciting 
as I have to flow through the mental rolodex. But once the frus- 
tration passes, and when I figure out what it is or who it is, it's 
like rediscovering a band all over again. SSD, Warning, Wrecking 
Crew — there are so many. 

Part 2 

I never really understood why people would stop doing a 
zine and then change the name and start from scratch. But I think 
I've come to understand that sometimes the expectations people 
put on something can become too much. Sometimes we need a 
change of pace. A clean slate. The ability to find a new voice. To 
say something new and unexpected — it can be easier in a new 
forum. 

I have never considered myself a writer. It's just something 
that I started doing. I've always written in an open and honest 
way 'cause it's really all that I know. I've always been somewhat 
envious of those wno can write so openly that they really bare 
their soul. Likewise I've always been in awe of those who can tell 
a true story but change it enough to make it an example that tran- 
scends those people around them. It's a touchy subject, ya know, 
writing about people you know — writing about your friends, 
your peers, yourself. You can open up doors that may be best left 
closed. Some people like their privacy and anonymity, after all. 
I'm not much of an agitator. I don't like conflicts, drama, or con- 
frontations. Over the years I have learned a lot about mediation — 
about seeing multiple sides ('cause there always are multiple 
oints of view) — and attempting to find common ground. Fve 
een learning a bit about privacy issues myself in recent years. 
Getting to the point of self-censorship — not wanting to tell the 
world everything and trying to find a way to keep a little bit for 
myself. Sometimes it's hard, especially when you get used to 
being very open. To hold something back feels dishonest some- 
times. To not really talk about how l feel or what is on my mind 
can feel like denial, it can also feel like holding back the truth or 
reality. 

I have grappled with this public /private issue in my writing 
and walked a fine line of what was appropriate. I tend to not 
write things that are too specific, yet I am unable to change things 
completely. If I write for the public it's pretty straightforward. But 
I have found myself battling confidence issues, struggling to find 
my voice — even harder, to maintain a voice that I got used to — to 
not show weakness, vulnerability, or uncertainty. Above all — to 
not be negative or critical when I want to always look on the 
bright side and find the good in things. 

I recently found out that something I wrote over two years 
ago hurt someone, and that has been weighing heavily on me. It 
has really made me think about the responsibility that I have in 
putting my words out there. Unfortunately that has also made 
my instincts to pull my words deep within me all the stronger. To 
protect them and keep them from making myself vulnerable or 
from hurting anyone else. I don't think that this is the right course 
of action, especially since my intents are never hurtful, but I don't 
know if I can help it. I have been struggling with words for a 
while now. Feeling like I have run put of them. Wondering if I will 
get them back. And really giving thought to the need to put my 
ideas out there for the world to read. I question myself about the 
ego involved in thinking that what I have to say is worth reading. 

I struggle with the confidence to feel that I have something to 
contribute — words that are worth the paper they are printed on. I 
do get some good feedback, and that Keeps me going. I find that 
enough people seem relate to the things that I write about; 




enough people validate my expressions in one way or another, 
and that keeps me sharing my thoughts. But I still find myself 
questioning it and drowning in the self-doubt and insecurity and 
uncertainty. But I know that we all have our insecurities and 
sometimes putting our ideas out there can be the hardest, but also 
the most rewarding thing we can do. 

Chris(tine) c/o Slug &c Lettuce • PO Box 26632 • Richmond 
VA 23261-6632 


Saturday, December 7 

Fresh off my night 
out trolling for babes — 
with the success under 
my studded belt of 
talking to an actual 
girl — I strutted my way 
into Borders Books. I 
was meeting up with 
Lubrano. Fuckin' A. 

Shit was good. I felt 
good. I had the same clothes on as yesterday, so I knew my outfit 
was key. I was about a minute and a half from the enigma of Jason 
Lubrano; a guy who shits his pants almost regularly and can pon- 
tificate on talk radio for at least a solid hour. I was smiling about 
that when I caught sight of her. It was fucking Borders Girl. She 
was smoking a butt and drinking coffee outside. Not a sighting 
for months, and there she was, just fucking standing there. 

Alright wait, this story might make more sense if I back it up 
a couple of months. I was online at Borders Books. In my hand 
was tne remastered double disc version of Bowie's The Rise and 
Fall of Ziggy Stardust and the Spiders from Mars. I was there with 
my brother and our pal Heath. My brother was compulsively 
buying filmmaking magazines that he wasn't sure if he had 
bought and read already. Heath was looking at a smarty-pants 
book about inequity and race and stuff like that. I was checking 
out my mue in MaximumRockNRoll, trying to figure out why they 
call that other magazine Punk Planet , and buying some Bowie. 
That was the scene. 

So, I was just about to pay when a totally great-looking 
young woman came up to me. Honestly 1 was startled. This kina 
of shit just doesn't happen to me. 

"You're name is Wells, right?" she said. 

I think I said something as smooth as, "Umm, yeah." 

Luckily she took some initiative in explaining just why the 
fuck she was talking to me. 

"Once I snuck up behind you and put my hands over your 
eyes," she said. 

"Really?" I said as I fumbled with a nervous smile. I wracked 
my fucking brain trying to figure out what she was talking about. 
But I was coming up blank. 

"Yeah, I thought you were Travis, you know that guy, right?" 
she said. 

I did know that guy. Travis Marino. I still had no idea what 
she was talking about, but at least I knew Travis. He was this 
dude from a bunch of years back. Once when I first started driv- 
ing he skitched on the back of my 1986 Saab 900. I got up to 
around 30 mph before both he and the skateboard went flying in 
the air and hit the pavement. Later he got a crucified skinhead tat- 
too and moved to the Midwest or something. I guess we looked 
alike because about once a month back then, someone would mis- 
take me for Travis. Apparently that's what she did. And now she 
was talking to me about it. Sweet. 

We made small talk. We ran down the list of people we knew 
in common, and when that ran out of steam, she updated me on 
Travis. He got married or something. I scrambled and came up 
with a halfhearted update on this guy Pauly that we both knew. 

As mundane as it was, I was smitten. We were all dumb- 
founded that a pretty girl just marched up to me and started talk- 
ing. It really was amazing. As sad as it sounds, it fueled our con- 
versation for at least three or four days. 

The ensuing month or so was marked by a sharp increase in 
my Borders patronage. I was buying CDs once or twice a week. 
Most of the time I was going home with really crummy stuff. I did 
get a couple of really great SON VOLT CDs though. Anyway, I 
never fucking really talked to her again. I was in there a lot, and 
only once do I remember awkwardly starting another conversa- 
tion with her. It failed, and left me with an enormous walk of 
shame from her register to the door. 



So, about a month and a half into our creepy one-sided stalk- 
er relationship, I had had it. I resolved to ask her out the next time 
I saw her. I didn't care what the answer was. I just needed to 
know that I could ask. I was sick of being a creep, I was sick of 

f oing to Borders, and I was sick of the crummy country music I 
ept buying. I was so fed up and so dedicated to asking this girl 
out that I started telling my friends and family about it. There 
wasn't a person close to me that didn't know that I was going to 
ask out Borders Girl. Like an idiot, I built that shit up. 

So, I went in three or four more times over the next two 
weeks. She was never there. Or at least I never saw her. I con- 
cocted a half crazy idea that she was avoiding me. That's when I 
got mad and broke off our non-relationship. Lm crazy. I know. 

OK, fast forward. It's like two months later. I'm still crazy, 
just not about Borders Girl, i was rolling up on potential hijinks 
with Lubrano. I had a spring in my step from a totally great time 
the night before. My confidence, as stupid as it sounds, was off 
the charts from a mildly successful conversation with a girl the 
night before. That's when I saw the elusive Borders Girl sipping 
on Starbucks and sucking down a butt a few feet to the right of 
the entrance. Fuckin' A. 

About midway across the crosswalk I felt my right arm go up 
into a wave. 

"Hi! How are you?" I said, almost like Daniel Johnston says 
it. 


"Hey," she said with a smile. Then she made a comment 
about how busy it was. 

"You don't look busy," I said, realizing that this conversation 
was sucking wind already and it was totally my fault. 

"Yeah, I'm on a break," she said. I was ready to poke my eyes 
out when it took a turn for the worse. "That girl with the short 
blonde hair that you used to come in with was just here." 

Great. Stacy. Sweet. "Yeah, we used to go out," I said. 

Somehow, almost as if some divinity delivered me from the 
crap hole that I was in, the conversation started to get better. The 
pace quickened and we were talking about roommates, apart- 
ments, and our jobs and shit. She was smiling. I was about two 
feet from her and I caught a pretty long look at her face. She was 
really very beautiful. Actually, she was kind of astounding. I 
noticed a few things. She was about six inches shorter than me. 
She had green eyes. And I really didn't like her pants. 

She was finishing up a sentence when I sort of squeaked out, 
"Hey." I took the plunge and continued with, "I used to come in 
here all the time trying to get the nerve up to ask you out." 

"Oh yeah?" she said, kind of smiling. 

"Yean, so do you want to maybe go out sometime?" I said, 
squinting my face bracing for the answer., 

"Yeah, totally," she said. 

Holy shit. Not only did I ask this girl out, but she said yes, 
too. This was unreal. She had some auestions about when I 
worked and I reciprocated. Most of the logistics were out of the 
way when she busted out with an admission. 

"I actually don't have a phone," she said. Fuck. 

She continued, "I just moved into a new place and I don't 
have a phone yet." 

I made a crack about how she was making it up, and she 
laughed. She brought me inside to grab a pen and write down my 
number. I was standing there waiting for her to get a pen when 
everything around me became painfully ultra-real. I felt my tem- 
ples pounding and my stomach churning. I caught a surreal 
glimpse of her pants again. They were a weird color and had kind 
of like tassels or frills on them. No, not frills. But like the pocket 
edges were sort of frayed and had like this mane of denim strings 
hanging from them. In any case they were weird. I also caught a 
slow motion shot of her coffee. The lid had "Alison" scribbled on 
it in pen. I was pretty sure that was her name, but now I knew. 
Awesome. 

I rattled off what I hoped was my cell phone number. I was 
pretty nervous and not really sure wnat the fuck number I gave 
ner. 

"Wow, I'm glad I got the nerve to ask you out," I said. 

"Well, I'm really glad you did," she said with a totally cute 
smile. 

Damn. That was great. So, I was off to find Lubrano. I saw 
two or three girls on tne way to the music section that I thought 
about asking out too. I was fucking brimming with confidence 
and enthusiasm. I headed to the DVDs and called Lubrano on his 
cell. He was by the magazines. 

"Dude, you won't guess what the fuck just happened to me," 


I said to the phone. 

"Come over to the magazines," the phone said back. 

"Fuck that, dude, Borders Girl is over there. Meet me by the 
DVDs and go fuck yourself," I said to the phone. 

Lubrano showed up a minute later. 1 looked around like a 
spy about to deliver some kind of secret goods. I put my arm 
around Lubrano and whispered, "Dude, I just fucking asked out 
Borders Girl." 

I felt like a million bucks. We dicked around in the store for 
awhile then proceeded to drive around like idiots. Fuckin' A. It 
was really the first stranger I ever went up to and asked out on a 
date, and it totally worked. I was happy. Really happy. 

Epilogue 

It s day four. No call yet. My cell phone rings. 

"Hello?" I answer in my best handsome guy voice. It's some 
guy named Carl who's a customer at work. 

"Fuck. Fuck. Fuck. Fuck you, Carl. Fuck," I said to him. 

That kind of crap went on for a couple of weeks until I total- 
ly gave up on her calling me. Defeat, at least I'm used to it. 

More Epilogue 

Anyway, at some point before Christmas I was at Borders 
getting some shopping done. Borders Girl comes barreling 
around a corner and we make this uncomfortable eye contact. 
She's got some guy in tow looking for a book or something. I was 
kneeling checking out cookbooks for one of my pals. 

She put her hand on my shoulder briefly, and said, "How are 
you?" She said it in that same consoling way people do at funer- 
als. Fuckin' A. I can't catch a. break. 

Magazine Rack 

Well, what* might turn out to be the real story here is this: 
Borders Girl works at the register about six or eight feet away 
from the magazine rack where this here Maximum RockN Roll will 
be sitting in a month or so. At this point, it's probably the best 
argument I can come up with for why MRR shouldn't be in chain 
stores. Fuck. I'm a glutton for humiliation. Bring it on. 

The Punk Rocker Mental Illness Pen Pal Network is up and 
running. If you are looking to connect with someone to write back 
and forth with about Mental Illness, send over your info, and I'll 
hook you up with a pen pal. The contact information is below. 

Past "Oh Man What The Fuck!?!??!" columns are no longer 
available on the web. Look for an anthology zine at some point in 
the future. 

Gave up white bread: Wells Tipley, PO Box 772, East 
Setauket, NY, 11733 USA. Or email me at wells@traffic viola- 
tion.com. 

*** 

END NOTES: 

1. I care about nutrition. I really do. I went to a nutritionist 
and everything. I'm off the white bread and dairy. I'm off booze 
and caffeine. I m off chips and pretzels. I'm off cookies and sugar. 
I eat lots of salad, fruit, and nuts. And vitamins. And some weird 
cereal called Uncle Sam's. I care about nutrition. 

2. My pal Alex who used to be in MAD COW DIZEAZE 182 
finally just got his compilation 12" out. It's called Death to 
Hardcore , Death to Reagan and it's got bands like ULTIMATE 
WARRIORS, CRUCIAL UNIT, IDOL PUNCH, WHAT HAPPENS 
NEXT, the GATECRASHERS, and more on it. I do a track with my 
old two-piece band called the SOCIETY DESTROYERZ. Most of 
the songs are covers of 80s songs about Reagan. We did an OLD 
SKULL song. 

3. 1 was in a colossally bad mood for the entire writing of this 
column. It made it hard to write. 

4. Fuck you. 


Anarchy is viable, obtain- 
able, and sustainable within 
our lifetime. Given the chance, 
the human race would love to 
work together toward a com- 
mon cause. 

Punk Rock is a serious 
threat to the status quo. 
Serious. Threat. 

Real Rock is finally making 
a comeback thanks to bands 



like the STROKES and the HIVES and the VINES. 


* 

I'd like to see a return to the 1984 style violence at shows. 
More gangs and skinheads! The scene was better when people 
were scared to go to shows. Only violence can take Punk back 
from MTV. 

Looting punk bands' merch tables will teach them a lesson 
that Capitalism has nothing to do with Punk Rock. We must 
teach these fucking vultures that it doesn’t pay to leech off the 
scene! 

Fuck the antiwar movement. This country needs a war on 
three different fronts to boost the economy. A new war will also 
provide all new material for European crust bands who are des- 
perately running out of ideas. 

Other than emo, the most relevant genre of Punk Rock has 
got to be (insert more relevant subgenre here). 

Opinions of a political nature should be kept out of music. 
No one wants to hear a bunch of fucking preaching. A song's 
message should fall into one of four categories: drinking, fight- 
ing, fucking, or rocking. If a song falls outside the scope of those 
categories, it better be a goddamn instrumental. 

Look at the first letter of every paragraph in this column if 
you are really that unsure of what I m trying to say. I shouldn't 
even need to explain this, but then again I've never known how 
to tell a joke without fucking up the punchline. I'm OK with 
punch lines, but not punchlines. You know... a joke's never 
funny when you have to explain it. Voila! I fuck up again! 

Sorry for writing such a short column, but I could only say 
everything I wanted to say in ten short (chimerically bombinat- 
ing) bursts. Email me at smashismo@aol.com 


I'm So Excited 

Gulcher Records (gulc 
herrecords@aol.com) 
stretches its musical reper- 
toire with the release of 
the THUNDERTRAIN ret- 
rospective "Teenage 
Suicide". Sorta the US 
equivalent of UK pub 
rock, bar boogie rock hap- 
pily coexisted with proto 
punk in early to mid-70s. 

Visually, progenitors of the genre took on long locks, open shirts 
and tight flares posed by pretty boys with pastiches of glam that 
were really dreams of big arena rock filtered through low budg- 
et camp. Musically, rock star guitar solos and the occasional 
cowbell framed its high energy nard rock sound. 

THUNDERTRAIN did a handfulla years during the era, 
their demographic extending from the teen girl crowd, as mash 
letters flooded 16 Magazine , up through the hip above under- 
ground: Max's, CB's, and of course their hometown pad, the Rat 
in Boston. Their recorded legacy was small but notable, with 
1975's independently released "I'm So Excited/Cindy Is A 
Sleeper" 45 on their pseudo-conglomerately-named United 
National label, and then the next year with their breakout "Hot 
For Teacher" 7", whose brilliant title was coopted by Van Halen 
for their megahit in the 80s. Their one LP, Teenage Suicide , 
extended the name further. Their lead singer Mach Bell later 
gained further success as lead singer for THE JOE PERRY PRO- 
JECT, a one-time splinter from the early 80s AEROSMITH 
drugs'n'alcohol descent. 

This CD not only has their best tracks, but also a radio inter- 
view and great liner notes, a 24 pager with rare photos and band 
history. And it's all told as real as real without the rose colored 
rock revisionism, even their self-ad mittedly embarrassing brief 
foray into face-painted KISS-dom! Definitely a labor of love and 
a quality package all the way. Barkeep, I'll have another beer... 

Postscript to the Mach Bell continuum is his band LAST 
MAN STANDING who put out their 11 track CD recorded and 
released a year or two ago. He still looks great and sings even 
better than his THUNDERTRAIN days. Hard rock without a 
trace of indie or punk infused is his current gig, would unlikely 
appeal to fans of this rag, but if you secretly like Bon Jovi style 
arena boogie, you might want to check it out. 

The counterpoint to the thuggery of Bloomington Indiana's 
GIZMOS and PANICS were embodied in their art damaged 
counterparts, MX-80 SOUND and the DANCING CIGA- 
RETTES. While MX made it to the majors, the Cies stayed clos- 
er to home, tho touring out as far as Buffalo and Omaha. Traces 



of skronk, sound pastiches, pained vocals, lurching stops and 
starts, and sone titles like "Monsters Eat My Hell" and "Puppies 
in a Sack", while obtuse, somehow manage to wash a warm feel- 
ing over me, or is it the booze? These guys looked like intellec- 
tual hippies with their frizzy hair, but played with an intense 
edge that finds kin with PERE UBU and their ilk. 

"The Gulcher Recordings" collect the Cigs previously 
recorded output (a 7" EP as well as the great "Broken Windows" 
track from the Red Snerts compilation - also recently reissued 
on CD on Gulcher), and a fine sounding live set. Worth getting 
for the initiated and curious. 

Blam Blam 

From some scumpit in the US, another motherload of near 
beer hath been dropped. The same blammer that brought us the 
EATs and the PLUG^' 45 repros last year have come forth with 
more KBD-like madness. Mr. Blam gives us tuff rock in the form 
of the "Taking The City By Storm" 45, from the band that didn't 
make Milwaukee famous, THE HASKELLS. Originally released 
in '78, this new wavish looking record, in which the trio sports 
two striped button down shirts and a polo shirt, is really a hard 
rockin' punker. Meanwhile, the reissue of the LATIN DOGS' 
"Warning" 45 outta Michigan, 1981-ish, comes with a different 
sleeve - a cool live shot in which the kick drum hilariously has a 
teddy bear (real?) grafted onto it. Another great 45 to reissue. 
Finally, San Francisco's SNUKY TATE get his due with the reis- 
sue of his "Who Cares?" monster platter. Nice sleeve repro on 
this one. 

Sent to me in pre-release form, the GERMS' "Lexicon Devil" 
EP, originally* a Slash records release that quantum leapt from 
their earlier inept "Forming" single, is one of the upcoming 
Blammo treats. It comes in white vinyl and a picture sleeve that 
declares it a "Special White Wax Promo 1 of 50 (copies)", so 
don't even think about it. However, when it gets fully released, 
the scum can swarm around the blue wax edition that a portion 
will be done on. 

The other upcoming Blammo release is a reissue of the FIX 
45, their superrare "Vengeance/ In This Town" 45 that originally 
came out in a 100 copy edition from the then fledgling Touch & 
Go label. Slathering fandom in the form of a Ripper magazine 
interview appears as an insert to this 45, along with a counter- 
point by Barry Henssler ("Necros") on another insert, declaring 
the band as Judas Priest loving outsiders to the scene. Funny as 
hell, and heck you already know the music, midwest hardcore 
short and furious. Why pay $800 when you can feel this wax 
melt in your hand at the few bucks it'll probably be. 

Ex-Lax 

When I was in college in N.J., the Pennsylvanians were the most 
boring fucks to walk the earth. Could never figure out why. 
Three Mile Island fallout mebbe? Always smart but never cre- 
ative. Certainly never interesting. Lotsa curly haired types of 
varying shades of brown, usually with misshapen noses. Maybe 
they had the crap beaten outta them too much. Bastard children 
of Rocky. Bands like RUIN and RED BUCKETS proved that even 
the non-mainstream of Pennsylvania weren't much to speak of 
neither. 

It took a number of years for me to dispel those notions. 
Ordered thru the lamented and long gone distro Ajax Records, I 
discovered the MONKEY 101 single "French Feelings" on this 
Philly label Siltbreeze. It was one of my favorite records of that 
year, 1989. Over the years that ensued, a flurry of decidedly non- 
pedestrian releases came out on the Siltbreeze label, including 
notable one-offs by bands like SEBADOH. With other labels like 
Anyway and Datapanik, it became part of a triumverate of the 
best new non-grunge American shit. 

Fast forward to last month. What the fuck Siltbreeze was 
doing selling a limey assed pansy goth shit JOY DIVISION 
record on eBay was question enough, and me bidding on it even 
more so. Anyhow, the 45 of "Dead Souls b/w Atmosphere on 
the Sordide Sentimentale was one of the rarest of the Joy Div 
records in a numbered edition of just over 1500 copies. The fact 
that Siltrecs (the eBay name for Siltbreeze) billed it as "rare as 
hen's teeth" further stoked the fires. It had been heavily boot- 
legged. Copies used to float around readily in the mid-80's 
around town for about $10, replete with the full color folder 
reproduced. A genuine copy I bookmarked it. After checking it 
a few times during the week, I finally decided to put in a bid but 
not first without jetting Siltrecs a tew questions to verify the 
authenticity of the record. 

"Is there a medusa's head on the paper label of the record? 


I cant quite make out the graphics...", I wrote. The bootleg has 
a medusa's head. No response from Siltrecs before the auction 
ended so I bid anyways cos if it was real, I wanted it. With a high 
bid near $250, 1 won. I sent him another email. 

"...Looks like i won the auction! can you answer the other 
question i emailed yesterday, which is ,there should be a 
stamped number of the jacket, what is the number? thanks, 
henry" 

I got this mysterious response that only Ray Ernst would be 
able to decipher. 

"no, its no (sic) the medusa "repro." it’s the other version, 
up until i listed this item i had no idea there had been reprints, 
and so it goes... ." What the fuck exactly does that mean, mister 
indie fucking rock america? 

"hi tom, the number should be numbered out of 1578 copies 
- can you look for a stamped number? thanks, henry." I respond- 
ed. I tried to be more explicit. 

"there is no "stamped” number, at least that i can find.", he 
responded. OK, I think to myself. I'm getting some English now. 
As I would find, his English seemed to get better and better, 
especially of the 4 letter variety. 

"hi tom, 

is it ok if you give me a day to research where the number 
should be ? im sorry about doing this now, but i emailed the 
question yesterday (probably on too short notice), i can’t pay 
this price for the boot, since the boot goes for $75 or so. the info 
i have on boot is that there is no stamped number and the inner 
label of the record is a medusa (woman with snakes in her 
hair)." 

"Henry- 
listing & dealing w/this record has been a huge pain in my ass. 

I suppose some of this falls on me as I had no idea that this was 
a boot or reissue or whatever it is, as it is the only copy I have 
ever seen. Now you tell me you don't want it." 

"hi tom, i did NOT say in my email that i dont intend to 
honor my bid.i am saying that i want to verify that it is original 
and not a boot before i buy it, and i wasn't able to verify it before 
the auction ended. Let me do some research as to how the record 
was numbered 

"henry-this was forwarded to me at the end of the auction. 
http://members.aol.com/lwtua/S5.htm" OK, this fucker has 
finally come clean and admitted that this is a bootleg. That is all 
I needed to know. Thanks, dude. 

"so according to this, the copy is a bodtleg, i unfortunately 
cannot honor the bid as such." I said, along with apologies and 
willingness to make up the diff to the next highest bidder. 

"ill let you know what transpires w/the 2nd bidder, you 
really fucked this thing up & after i told you that is WAS NOT an 
original!." Ungh. 

All I can say is I hope Mr. Lax is more cooler with the bands 
on his roster than with his eBayers. Glug. 

Poor ana Forgotten 

From the I-promised-to-mention-all-submissions-and-now- 
I-regret-it department comes a fanzine called Poor and Forgotten 
put out by Matt Johnson from a Massachusetts Correctional 
Facility. Unsure if it's any good cos all I got was the plea for $1 
and two stamps for the "free" copy. Sorry bubs, my stamps are 
for licking. 

Send shit to Henry 4309 23rd St San Francisco, CA 94114. 
Next month is a pile of releases from Raveup as well as the bal- 
lad of Jim Brick and a rave on LOS OLVIDADOS. 



Alright folks. I've 
been writing this column 
for something like four 
years now and I have a 
confession to make, FOR 
THE PAST THREE YEARS 
I'VE BEEN A PORN 
ACTOR. I never talk about 
it and I'm very embar- 
rassed to make it public, 
but I feel that certain peo- 
ple have leaked the infor- 
mation out and I'm sure if I don't out myself someone will do it 
for me and the story will seem much much worse than reality. 

Yeah, I live a double-life. By night, I pose as Bill Florio, fun- 
loving goofy punk kid, but when I roll out of bed to punch a 



clock become Craven Moorehead, ball-draining cumshot king. 
To tell you the truth I never thought it would come to this point, 
I always sort of thought the whole thing was a joke. I'd do two 
or three films that no one would know, but lately I've made so 
much money that it's just too hard to say no when they call. 

It all started around 1999, 1 was working on a Greedy Bastard 
article where I would call people and ask them about their crazy 
sex experiences. One of the people on the list was my pal Rick 
Hall in LA. Rick has worked in the porn industry for ten years 
or so and has been the Managing Editor of High Society as well 
as working at Hustler ; and he now works for Evil Angel which is 
a pretty big porn video company. I was in the middle of asking 
him some goofy question about felching or something like that 
and confesses that he briefly dated an ex-girlfriend of mine. 
Suddenly the whole goofy interview got turned around and he 
started asking me all these embarrassing sex questions. I guess 
my ex let him in on some of my crazy sex abilities and Rick gets 
a agent's fee if he happens to find new talent. Of course, this 
usually means some stripper Rick picks up on, but new worth- 
while blood in the Straight Male pom community is always 
appreciated since guys have to work a lot harder than the girls 
for less pay. 

One thing leads to another and I'm sitting in an office in 
downtown Manhattan waiting for some guy named Larry to 
interview me. I imagined some greasy-hairea guy with a pencil 
moustache and a cigar asking me to pull my pants down and 
jerk-off in front of him. He looked nothing like that, but for some 
reason I still imagined him looking like that after the interview 
was over. He was actually iust a bored office worker type, there 
wasn't any porn posters hanging up, it sorta looked like an 
accountant's office rather than some depraved sex center. Larry 
explained to rpie that four times a year the company would have 
a ^'casting call" for new porn stars. See, in porn they actually 
hire real union film people as far as camera and lighting engi- 
neers, and usually they also rent a sound stage, catering etc., 
etc. . . These sort of things get rented by the week and the idea is 
to do as many films as possible in the three to seven days that 
they are shooting. Anything or anyone that wastes time costs 
them money and porn producers are some greedy motherfuck- 
ers. So if some stripper comes on and has an anxiety attack or 
cries when a guy sticks it in her poopie pot, its gonna mean dol- 
lars and cents not going up someone's nose. So, these casting 
calls are sort of simulated movie days, where they actually film 
D quality porn, but it's all a write-off just to insure that no flaky 
idiots are given a contract. Keep in mind that they're really only 
looking for new girls (there are only a handful of guys in most 
porn because there are certain things you need to be able to do 
to last in the biz). Usually they eat it and hire four or five grade 
A male porn stars to work that week, since the crews and stage 
is all amateur shithead type stuff, the porn usually only ends up 
on web sites and all the new chicks get paid l/10th the money 
for a real porn. Larry figured since I can basically have sex for 
eight hours straight without stopping, he could hire half as 
many A actors that week and make more moula, or lose less 
depending on how you look at it. He didn't say, oh if yer good 
we're gonna make you an A porn star, he just said we'll pay yoti 
$2000 for a 40 hour week and see how it goes. I guess I was 
good, and this has been the insanity I've been living for over 
three years. 

Ill tell you, it's really hard for me to go into much detail on 
what I had to do that week and what I've done every week 
since. I mean, in some ways it can really have a huge impact on 
our life and how you view people in general. It's sort of like 
ecoming a soldier or urban police officer without the formal 
training that's supposed to help you desensitize yourself to gru- 
eling factors of real-life. I laugh when I see porn stars on TV talk- 
shows defending the industry, saying that there aren't a lot of 
drugs and it's really just a big happy family. It's really a scary 
situation and you have to get intimate with people you normal- 
ly wouldn't want to give your phone number to. I show up, I do 
what they ask and I leave. The first few weeks, I tried to have 
conversations with people, considering I was having sex with 
them or seeing them have sex with others. This was a bad move, 
it seemed like everyone involved either wanted to sell me some- 
thing or wanted something from me, be it the fame that was 
coming to them and how I should do this or that with them, who 
needea a loan, who wanted to move in with me. I mean, most of 
these people are pretty insane. So, right away I figured, 1. Let's 
keep this thing a secret. 2. Don't make any new friends, get in 


get paid and get out. 3. Condoms, you gotta be nuts to fuck 
these people unprotected. 

So this is where I'm at. I fuck about ten days a month, get 
paid more than my dentist and spend the rest of my time being 
a punk rocker. The guys in my band don't even know, they just 
know I was able to front the money to record our new CD and 
don't know where it came from. My family thinks I still make 
wedding videos; my girlfriend thinks I have a new job at Silver 
Cup studios in Queens as a set designer for Scrubs. 

Well, there it is, it's all on.the table, it's scary because I know 
a lot of you are. going to judge me, not want to talk to me, I may 
end up very much an outcast but it feels good to get this off my 
chest. The release of the April issue of Maximum RockNRoll 2003 
will make a very important day in the life of Bill Florio. 

I just wanna thank everyone who helped the SHEMPS on 
our west coast tour in January! Floyd, Nam, Mike Thorn , Ray 
Wyland, Missy Hennings, Lee Dionysis, Erika Pinedo, Nicole 
Erny, Jennifer Maerz , Laura Rickert, and Corey Kava the AMA- 
ZOMBIES, the STUPOR-STARS, the ORPHANS, the FLESHIES, 
CHASED AND SMASHED, the JAG-OFFS, TOYS THAT KILL, 
DEADLY WEAPONS, PIRX THE PILOT, OCTOBER ALLIED, 
THE PHUZZ, the HEARTACHES, S.H.A.T and the HOLLOW- 
POINTS. I still don't like California all that much, but you all 
proved that everyone there isn't a stinker. Oh, thanks to Janelle 
for punching Artie in the face after he dry-humped her, and 
Pancho Villa v s for making that burrito that Artie slipped on and 
broke his arm at Mission Records. I'll be sure to write about it 
next month. 


In case you weren't con- 
vinced last time around that I 
was a total loser (I think I may 
have been the first person in 
MRR history to attempt to 
describe the PAULA ABDUL 
dance), I give you additional 
proof! Enemies and FBI agents 
take note! 

A few weeks ago, I was suf- 
fering the usual effects of 
P.M.G.I.N.Y.S. (Poor Midwestern Girl in New York Syndrome). 
Due to a number of bank errors and general lack of wealth, I 
found myself with no money for about six days. On the seventh 
day, I rested, and looked at my creation and saw that it was 
good. No wait. On the seventh day, I found a flyer that said, "Do 
you want to make $20?" 

We all know the answer to this question. I had pizza and 
candy to buy! I needed to mail order that SHOTWELL seven- 
inch! I had to buy three churros for a buck from the woman who 
sells them in Union Square! Yes, yes, I did need 20 bucks. 

So, I grabbed the flyer off the wall. It was for a psychologi- 
cal experiment. I called for more information. A girl we'll call 
Melissa answered the phone. 

"Yes, I'm calling for the psych experiment," I said. 

"For the money?" Melissa asked. Yes! She was right to the 
point. She knew that I did not want to aid the cause of science 
and advance the understanding of my fellow man. Gree-dee! 

, "Yep," I said. 

"OK, well here's how it works. You play a computer game 
based on probability, and the better you do on the game, the 
more money you make. You can earn at little as $15 and as much 
as $25. Does this sound like something you'd be interested in?" 

"Yes!' I responded, and we arranged an appointment time. 
In the two days leading up to the experiment, I thought a little 
about it. "This was going to be so easy," I thought. "I am so good 
at standardized tests!" 

These feelings are borne out by hard evidence, of the sort 
that causes one to lose friends in grade school. When I was in 
fourth grade, I tested in the twelfth grade level on some stan- 
dardized test. This, of course, was an exaggeration of my men- 
tal powers, the reading of Anna Karenina at age 12 notwith- 
standing. But still, when it came time to show each other our 
scores in the cafeteria one day, I think I temporarily slipped in 
general unpopularity behind this girl Kim, who wet her bed. 
And talked about it. A lot. Fortunately, my skill at four square 
redeemed me, putting me somewhere between Kim and the boy 
whose dad was a Lego architect (and who I had a crush on). 

Anyway, I was thinking, "I am $25 material! Finally, all 



those years of standardized test taking can pay off! Literally!" 
Punk rock! 

So, at four pm on a Thursday, I went to the psychology 
department of my university. Melissa greeted me and took me 
into a small room with a computer in the corner. There were a 
bunch of unidentifiable machines lying around. 

"Okay, so here's how it works,' Melissa said. "You are 
going to play a probability game. You have to guess whether the 
next number on the screen will be higher or lower. And the 
number will never be five. There are a number of sections. At the 
beginning of each section, there will be a clue. For example, it 
could telfyou that in this round, everything is higher. Or 70% of 
everything will be lower. After each time you answer, the screen 
will show either an up arrow or a down arrow. If its up, you got 
it right. If its down, you got it wrong. Get it?" 

"Sure," I said. 

"Great. So you just press the H key for higher and the L kev 
for lower," Melissa said. "The test takes 90 minutes^. And there's 
a few more things to tell you about." 

"Like what?" 

"Well, we want to test your reactions to the test. So, we're 
going to put two devices around one of your eyes to see how 
often you blink. And then we're going to put an electrode device 
on one of your fingertips to measure how much you're sweat- 
ing. It's the same thing they use in a lot of lie detector tests." 

"No problem," I said, with visions of $25 in my head. 

"Okay, and there's one last thing. You're going to put on 
these headphones. You will hear some really loud sounds every 
once in awnile. We want to test your reaction. It's a little annoy- 
ing, but really its no big deal." 

"Okay," I said. 

So Melissa put the electrode device on my finger and the 
weird thing on the edge of my eye. And then I put on the head- 
phones. 

"Alright, I'm leaving now. I'm going to turn out the lights. 
You can ring this buzzer for me when you're done," she said. 
And then left. 

It was now completely pitch black in the room, except for 
the glowing of the huge computer monitor. I looked at the 
screen. A question mark appeared. And then a star. Huh? And 
then... BEEP! Ack! The sound coming through my headphones 
was at a volume much higher than I had ever dared to experi- 
ment with before, even when I was fourteen and the tape in my 
Walkman was the CIRCLE JERKS' Golden Shower of Hits! 

Then another question mark appeared on the screen, then a 
circle. What the hell? I decided to just press something. So I 
pressed "H" for higher, and, again... BEEP! 

Argh! What was going on? A question mark, a triangle, a 
arrow, a question? Hun? This made no sense! So, I kept hitting 
"H" or "L" randomly, and the loud sound kept coming. "BEEP! 
BEEP!" 

I kept seeing down arrow after down arrow appear on the 
screen. Ack! Failure! Every once in awhile. I'd see an up arrow, 
get excited, and then the down arrows would appear again. The 
shame. 

I began to think, "Maybe this is part of the experiment. 
Maybe the whole experiment is about giving someone the 
wrong directions ana then measuring their frustration and 
growing insanity." 

After about 20 minutes of beeping and lights flashing in the 
total darkness of a small office room, I began to entertain the 
possibility that this was all part of an elaborate plot. These peo- 
ple were cruel, evil scientists! They wanted to destroy my brain 
and then use my body to enact their ghastly schemes! They were 
probably connected with the government, A1 Quada, and the 
makers of sugar-free candy! No! I was doomed! Soon, I would 
lose my will to resist! It was hopeless! Why me? Why me? All I 
ever did was jump up and down while listening to NIKKI AND 
THE CORVETTES. Is that SO wrong? 

And then I realized the true horror of my situation. I had 
another hour to go! I kept pressed H or L, kept getting beeped, 
and entered into an entirely new psychological state 1 will call 
C.A.T.I. (Complete and Total Insanity). I was over, done for. 
Even if this wasn't the cruel work of people who had watched 
too much Clockwork Orange (a category which encompasses 
approximately 50% of all white American males), I was ruined. 
If I survived, I .would be returned to my family, mute and unre- 
sponsive. They would prop me up in the front of the T.V., where 
I would spend the rest of my days watching The Price is Right! 


No! No! The horror! 

I kept pressing the buttons, and finally, the screen just went 
blank. I stared at it for a few minutes, in disbelief. The sounds 
stopped, too. My torture had ended! It was time to try to rein- 
troduce myself into society. Would it be the same as when I left 
it? Would people still be listening to J. LO and wearing high 
heels with jeans? 

I rang the buzzer, and Melissa came into the room, smiling. 
"Okay, let's retrieve your scores," she said. 

While she did that, I waited in the other room. A few min- 
utes later, she came in, looking puzzled. "Did one part of the test 
seem easier than the other?" she asked. 

"Uh..." I responded. 

"You know, did you feel like you were performing well?" 
she asked. 

"Uh. No. I just pressed whatever," I said. 

"Well, hmmm, yes, your scores are really, really low," 
Melissa said, sounding -disappointed. "Did you follow the pat- 
tern? You know, stars are high, triangles low, and all of that?" 

"Oh?! THAT was what I was supposed to be doing?" I said. 

At that moment, Melissa looked at me like one might look 
at a severely disturbed schizophrenic person who is trying to 
convince you that the voices are telling them to listen to U2 and 
kill the president. 

"Yes," she said, slowly and decisively. "Yes, that was the 
point of the experiment." 

D'oh! I was a failure! All those years of standardized test- 
ing, and, in my moment of glory, wrten it all mattered and the 
stakes were high, I failed! The shame! The humiliation! 

"Well, let me get your money," she said, sighing. "You 
earned $17." 

Well, 17 bucks, not bad, huh? I mean, I could have gotten 
15, right? And then, she made me sign off on a sheet. I glanced 
up at the several dozen other names above mine. Jane Smith, 
$25; John Doe, $23; Mary Jones, $24. No one had earned less 
than 20 bucks! I was the most stupid person to ever take this 
test! I flipped up a page while Melissa wasn't looking. Yep, more 
rows of $z0-25! Oh, I am a failure! 

I took the money and Melissa said goodbye. As I left, one of 
her colleagues came into the room. She glanced at him with the 
unmistakable "Just wait till you hear this!" glance. I was going 
to be the laughing stock of the psych department! 

But then I remembered. I had $17! Time to hit the candy 
store! 


'Scotf&rbno 

| Rama lana Fa 

1 FuckYxi 



There are many 
things that make life 
worth living and most of 
them are pretty simple. 

When you can combine 
those simple things, life 
is going good. One of 
my favorite activities is 
watching basketball on 
TV with the sound off 
while listening to 
records and drinking 
rye. 

It is a bit past the first of the year and Iowa State is getting 
the shit kicked out of them by Kansas. Kansas is a much better 
team. They still have players from their 2002 National 
Championship run, so the team is a bit more together. Iowa State 
has a lot of first year plavers — freshmen and recent snags from 
junior colleges. They do nave a couple of good guards and a 7- 
1% kid named Alexander who has a nice sweeping hook shot, 
but when the team goes on offense, one guy dribbles the ball 
while everyone else stands in place and watches. 

But even though the contest is not, I would much rather 
watch a couple of hours of college kids trying to wrestle the ball 
around than a bunch of pouty pros prancing down the court. 

Don't get me wrong, I don't mind pro oall. In fact, I think 
that the NBA's recent wave of fundamentally sound foreign 
players is great for the game and I love watching teams like the 
Sacramento Kings and the New Jersey Nets run the Princeton 
offense, a fast game full of passing and unselfish play. 

However, college ball is where it is at. Every eame is the 
game. And for most of the players on the court, ana especially 
on the bench, college ball is the last hurrah. Very few college 


players make the pros and those that know they aren't pro- 
bound make their time on the court memorable. They play for 
the thrill of the sport, the rush that it gives them, not some 
chance at future fame and fortune. 

I am the only person I know who drinks rye whiskey. Right 
now I am indulging in some Old Overholt on ice. I like the bite 
and the near sour, medicinal taste. I like the way it burns my lips 
and clings to the roof of my mouth. There are only a few place 
in town that carry rye. I purchased my Old Overholt for about 
twelve bucks at an upper-crust grocery store that specializes in 
minority boozes. I could have gotten the Jim Beam Rye for a ten- 
ner but I decided to upgrade — the holidays and all. The grocery 
also has $50 bottle of rye. Someday I'll get one. I've drunk $50 
bottles of Scotch and thev are so much better than whatever the 
bar pours. Right now I'll imagine that a good bottle of rye puts 
Old Overholt to shame. 

The basketball game is over. Not technically — there are still 
five minutes on the clock — but Kansas has put in all the short 
white guys so the game is over. 

The record isn't. The turntable plays Dan Melchior's Broke 
Revue's Bitterness , Spite , Rage , and Scorn. From the first song, 
"Hungry Ghost," I am hooked. Dan Melchior has one of those 
great shitty voices that makes rock and roll work. Like Neil 
Young or Mike Hudson, Melchior takes what he has, stays in 
key, and fills his songs full of himself. 

I read Melchiors liner notes. He writes "I'm sick of what 
you call rock and roll / Desperate happiness / Beatle boots 
glamorous / Minor drug abuse / I think rock and roll is some- 
thing different, something closer to hermitude and crying over 
the expressions on dogs' faces..." He is right. And the hundred 
words that follow are also right on. 

Someone told me that the reason I can't find rye in 
California is because it is an "East Coast" drink. I know my dad 
drank rye and he is from New York. Someone else told me that 
rye is an "old man's drink" and that the old men who enjoy rye 
are dying out — hence its unavailability. My dad is retired but I 
wouldn't call him old. Anyway, the first time I drank rye I was 
in my late twenties and in the Grand Tetons. I found a Dottle of 
Jim Beam Rye in a rural Wyoming grocery store. Since I normal- 
ly drink Jim as bourbon when I am traveling, I decided that Jim 
as rye would be a nice change. That xye was made in Kentucky. 
The rye I am drinking now was made in Kentucky. Kentucky? 
Wyoming? East Coast? 

I think they reason you can't find rye is that it isn't hip. Like 
the short white guys playing garbage time on the floor and Dan 
Melchior's vision of rock ana roll, rye is the "expressions on 
dogs' faces." And if that isn't a good enough reason to drink 
tonight, I don't know what is. 

Send your rye to Scott Soriano, 1114 21st Street, Sacramento, 
CA 95814 USA, scotts@sl.net. No junk mail or tour schedules 
please. 



Who can remember the 
last time Ray Lujan brought us 
one of his old "Pop Sicko" 
columns? Neither can I. There 
has been a void in every pop 
lover's little heart since the day 
Ray went away (no, not really, I 
just needed a good intro line) 
so The Powers That Be here at 
MRR gave me free reign over 
the amount of pop that shows 
up in these pages. One would think that it was quite a smart 
move on their behalf and a real dumb-ass move on mine, but then 
again they haven't read my column yet, now have they? My job, 
my task, my excruciating punishment for shooting off my mouth 
is to show you, genteel reader, that there is more to pop punk 
than crappy QUEERS and SCREECHING WEASEL clones, and 
that there is more to power pop than those great old Bomp! reis- 
sues. Lucky me. 

So I guess I bit off more than I can chew (and you'd think 
with his huge mouth of mine I'd be able to chew a little more). I 
am going to attempt to sift through the mass amounts of crap that 
I get in for review each and every month, to bring out only the 
best of the best, the creme de la creme, ...and, of course, maybe a 
piece or two of potty waste, just for good measure. So here I go... 

2002, in retrospect, wasn't as shitty of a year as I thought. It 


may not have been an Earth shattering year, but goddammit, 
some fine pop records were made and a lot of you probably 
missed them, so I'm gonna tell you all about 'em. 

The Grasshopper Man returned in full force lastyear. That's 
right, MRR's former antlered columnist and BORIS THE SPRIN- 
KLER frontman. Rev. Norb, started drinking again after being 
dumped by his lady friend and, as a result, released the first two 
installments of a rock'n'roll solo album trilogy. He plays all the 
instruments himself, although not very well, out it's his lack of 
musical training and, well, talent, that make these albums bril- 
liant. Most of the songs could very well be Boris offerings, but 
Norb's half-assed guitar "solos" and irregular drumming make 
these CDs raw ana a lot more personal. It's touching really: a 
middle aged, skinny, oddly dressed guy writing all of these songs 
about a girl who's broken his heart and done him wrong.. Ok, 
maybe not touching, but you feel sorry for the guy, and when he 
wishes he had some baby back ribs and photon torpedoes to 
avenge his suffering, I w^nna give them to him. It's goofy, and 
Norb is still the bastard child of the DICKIES and REZILLOS, but 
he's more than a strange little fast-talking geek in an antler hel- 
met, he actually has feelings and that girl hurt those feelings. 
Touch Me I'm Weird and Earth's Greatest Rocker are both out on 
Bulge records (Norb's own label), with the final chapter due 
sometime later this year. 

What an incredible fucking year for Holland's Stardumb 
Records. Signing a slew of great American and European bands, 
they are quickly becoming the best pop punk label around. They 
have given Lookout! refugees ana Sacramento, CA icons the 
GROOVIE GHOULIES a home and released their seventh full 
length, Go Stories! featuring their newly acquired vixen drummer. 
Scampi. Yet another fun-filled, RAMONES-fueled, pogo dance 
party brought to you by a band who can more or less do no 
wrong. The Ghoulies have always been a cut above the rest of the 
American pop punk bands in my book for two reasons: they 
don't sound like every other band doing the Ramones thing, and 
no one else can sound like them. 

Italy's MANGES also delivered a fine Ramones-induced 
album. SCREECHING WEASEL covered them on their final 
album, Jughead toured as a Mange last summer, and Joe Queer 
even sings on a few of the tunes on their first Stardumb LP, 'R 
Good Enough. This band is pop punk approved, so get with the 
program. Th6y graced us all with two snows in the Bay Area last 
summer and we had a blast hosting them (as well as Stardumb 
CEO, Stefan). There was drinking, shenanigans, and a lot of talk 
about the Ramones that weekend. Another fine example of why 
these guys are the heirs to the RIVERD ALES' throne. 

A RADIO WITH GUTS made the scene this year with their 
debut album. Beat Heart Sweet Stereo (co-released by Stardumb 
and Knock-Knock records, out of NY). Featuring all ex-members 
of the CONNIE DUNGS, ARWG picks up where they left off. 
They ditched the cliche pop punk sound and embraced a more 
personal and, dare I say, emotional sound. Emo they ain't, but 
comparing them to an extremely catchy JAWBREAKER wouldn't 
be too far of a stretch. Knock Knock also released a CDR of ARWG 
frontman Brandon Tussey playing several Dungs and Guts tunes 
solo. Both albums are must-owns. 

The VINDICTIVES made a return with a Christmas single, of 
all things. Two songs on three different colors of wax (red, green, 
and clear) with a limited edition holiday postcard. This is a col- 
lector's item in the making. 

Stardumb already has quite a line up set for 2003; the second 
volume of the European Pop Punk Virus compilation series (it's a 
who's-who of the pop punk scene in Europe and covers more or 
less all their premiere bands), and LPs from the Ghoulies, Dutch 
pop punkers the APERS, Germany's BACKWOOD CREATURES, 
the highly overrated DARLINGTON, and the METHADONES' 
(former Riverdale and ex-Screeching Weasel Danny Vapid's new 
project) second LP. I've heard some rumors around town about a 
few other projects, but Stefan will eat my liver with mayonnaise 
if I spill the beans. Reach out and touch the Dutch, www.star- 
dumbrecords.com for the latest news happenings, mp3s and a 
boss mailorder catalog. . 

The PHENOMENAUTS are, without a doubt, one of the best 
live bands in the Bay Area. They have managed to find a way to 
fuse pop punk and rockabilly and not come across like a cheesy 
Hot Topic manufactured piece of trash. Whilst most rockabilly 
bands end up resembling lame nostalgic cartoons, these guys go 
the sci-fi /B-movie route. Here's the deal: you aren't going to get 
any songs about Betty Page, nor how their girlfriends look like 


Betty Page. No songs about old 50s hot rods. No songs about 
rumbles or any of those tired out cliches. All you get is four guys 
who live out tne gimmick of being space rangers. What a concept. 
Their debut album Rockets and Robots covers a space saga of space 
spies, evil space spores, galactic pioneering ana other such space 
topics. These guys are a fun band to see and their wit, charm, 
awesome stage show (complete with choreography, lights, fire, 
and all sorts of kooky antics) and dance, dance, dancey tunes are 
winning them fans in every sector they meet. It's damn near 
impossible to not like this band (unless you are a very large, 
grumpy, chain smoking sour puss that writes for Amp magazine 
[not naming names]) or at least leave their show with out a smile 
on your face, www.thephenomenauts.com 

Alien Snatch records, out of the lovely and cheerful country 
of Germany, released some fine pop records last year. And when 
I say fine, I mean motherfucking dandy humdingers. The newly 
relocated /former San Francisco natives the FEVERS released 
their power pop masterpiece Gaan Daar Waar De Meisjes Zijn 
(lemme tell you it was a pain in the fucking ass for me to get a 
copy of this Dad boy. Every fucking record store I went to for two 
months was either "sold out and not ordering more for quite a 
while" or simply didn't carry Alien Snatch releases [for whatever 
dumb ass reasons], so when I finally found a copy I scared the 
shit out of the cute little Asian girl who was standing next to me 
browsing through the FAINT section or whatever, by yelling out 
"Finally! It's about motherfucking time Goddammit!" at an 
unnerving volume), and it rivals their debut single, Show , in terms 
of greatness and all around catchiness. Brian and Gavin recruited 
Midwest producer/ songwriter/ drummer Travis Ramin (the 
man who penned the majority of the TINA AND THE TOTAL 
BABES album) and they cranked out this masterpiece. 
Magnificent. 

The Snatch people also put out a record that made my day 
for a whole week, the RIFF RANDELLS' Lethal Lip Gloss 10." It s 
everything I wanted a girl band to be: cute, sassy, poppy, and did 
I mention cute and sassy? There's equal parts RAMOhJES, RUN- 
AWAYS, NIKKI CORVETTE, Radio X-era DONNAS and maybe 
even a little bit of CHIXDIGGIT in 'em (oh, the delightful double 
entendre!) 

And let us not forget the Face Rakin' Rock LP by the MIGHTY 
IONS. The Tons were a Boston based band from tne late 70s that 
featured members of UNNATURAL AXE and GG ALLIN AND 
THE JABBERS' first line up. They had a really great wrestling 
rock'n'roll shtick going on, and the only thing I love as much as 
the rock'n'roll is the rasslin'. All the tunes were from early 80s 
demos that have been (for the most part) previously unreleased. 
These guys are what would have been the outcome if the DIC- 
TATORS and the REAL KIDS had a Texas Tornado match. For 
more info on these and other fine releases get yer sorry asses over 
to www.aliensnatch.de, brother! 

MORTICIAS LOVERS are in heavy rotation in my car. These 
Italian bad asses have released their second album on Zaxxon 
Records and it fucking smokes. Mixing the snot-nosed elements 
of the KIDS, the lo-fi gene of SUPERCHARGER, and a trashed- 
out nod to 50s r'n'r like the SPACESHITS, this is fun for the whole 
rock and roll family. And as a bonus, it's delivered with those 
adorable Italian accents. Just precious. Listen to them rework 
PAUL COLLINS BEAT'S "Rock 'n' Roll Girl," I swear to God I 
don't even know if they are singing the correct lyrics, www.mor- 
ticiaslovers.com 

In the mood for a little snot and snarl mixed with catchy-as- 
fuck sing alongs and goofy love songs? Yeah, I thought so. 
Sacramento's SECRETIONS released their second CD, ' Til Death , 
on Springman Records, and the tag team vocals of Danny 
Secretion and Mickie Rat make this a good mix of snarl and croon. 
Mickie does the angry songs, Danny does the poppy, goofy ones. 
Perfect combo. Its got the nooks of the Queers ana Ramones, the 
rockingness of MOTORHEAD and the bite of the ANGRY 
SAMOANS. You can’t live without their song "Baby You Make 
Me Pop a Boner." You love that shit. You love it. They also 
released a split single with their hometown heroes the Groovie 
Ghoulies called 'Til Death (Do Us Party) which is also available on 
Springman. www.wesecreteyousuck.com 

Alright, the best for last. 2002 was the debut of the three pop 
bands that knocked me flat on my ass and will make everyone fall 
in love with them as well. Those Germans at Screaming Apple hit 
the jack pot with the MALLRATS and the EXPLODING HEARTS. 

The 'Mallrats are three well dressed young men from, 
you guessed it, Sacramento, California, who are making friends 


both far and wide, delivering an ultra catchy, 60s-influenced 
power pop sound. Boy genius Ted Angel serves up a dozen Ric- 
O-Phonic gems in the vein of the early HI-FIVES, STIV BATORS 
solo work, BUZZCOCKS, JAM, Paul Collins Beat and those other 
well groomed mod /power pop punk hit makers. Pick up their 
debut LP Fall In Love All Over Again... it's a bedroom dance party 
just waiting to happen, www.themallrats.com 

What can I say about the EXPLODING HEARTS that I 
haven't said before? No, really, I can't think of a single thing to 
write about them that I haven't already written elsewhere. 
Perfectly done power pop; catchy and fun, but not obnoxiously 
cute and sterile, with well crafted bittersweet lyrics and more atti- 
tude and Rock'n'Roll Edge than any other pop band I know. They 
just know what makes a good pop song. They are one of my 
favorite bands as of right now. They already nave two classic 
records under their wnite vinyl belts, their debut LP Guitar 
Romantic on Screaming Apple and the Making Teenage Faces 7" on 
Vinyl Warning, and a few more in the works. This band deserves 
all the hype they are receiving. They really are as good as people 
say they are. Sleazy, dirty, candy ballads and mescaline-induced 
teen angst served with a whiskey Slurpee chaser, the HEARTS are 
your new favorite band. Eat it up. www.expodinghearts.com. For 
more info on the rest of Screaming Apple's roster of power, 
www.screaming-apple-recofds.de 

Sacramento's iVl KNIVES are another group of hitmakers. 
Their debut CD, Useless and Modern , belongs in the Dirtnap 
Records catalog. This New Wave Pt: 2 thing may be the next sum- 
mer time trend, but these guys aren't a schtick, gimmick, or 
glossy band, they are four ugly guys playing catchy tunes straight 
out of the BUZZCOCKS, BOYS, and KIDS song books. Half the 
time I'm convinced the singer is trying to sound exactly like Pete 
Shelley, the rest of the time it's a toss up between Kid Reid, Matt 
Dangerfield, and the rest of the Boys. You'd swear these guys 
were from England, circa 79, that's how good they are. Anyway, 
Broken Rekkids is reissuing their first album on vinyl later this 
year and Smart Guy Records just released Estrogen (Cardwell is 
right, that is weird to say), a new EP which is right on par with 
the album. The future looks bright for these guvs. 

Mutant Pop Records went under (finally) this yean I was 
fucking thrilled when Tim Chandler called it quits and stopped 
shitting out CDRs. Mutant Pop was one of my favorite labels in 
high school, their 7" series got me into a lot of bands and other 
labels, but when Tim made the move to CDRs and waged war on 
MRR for not recognizing them as legit releases I lost all respect for 
the man and the label. 90% of the CDRs he put out were awful — 
almost everything that was sent to him he put out. The quality 
was lower than humanly possible. Chandler closed shop without 
a word in the middle of last year and left a lot of bands hanging. 
Several releases were just scrapped as Chandler just sat around 
with his thumb up his ass blaming the whole world for his label's 
downfall. News flash buddy, the reason your label never amount- 
ed to shit was because you're an asshole that thinks the world is 
out to get you and you release half assed generic bands on a for- 
mat that anyone with a PC can produce. Apparently he’s plan- 
ning a "rebirth" soon. Whoop-dee-doo. Keep your internet goons 
ana conspiracy theories to yourself dick nose, we're doing fine 
without you. 

That's it. I'm out of space and Mike Thorn is shaking his 
iron fist at me. 

BottomLine: Hope you enjoyed this, or at least found some of the 
info useful. Get in touch with me and send me your band's shit. 
revmanic@cs.com The Regaining Sound also released some good 
records, but didn't have space to write about them. Greg Oblivian 
really was the brains behind that outfit. 


I’ve been extraordi- 
narily lazy lately and 
haven't submitted a col- 
umn for quite some time. 
But the recent spate of 
flag-waving yahoos 
sprouting up like weeds 
has gotten my feathers all 
ruffled and I felt com- 
pelled to comment on the 
alleged "ideals" that the 
rag (oops! I mean flag) 
purportedly stands for. 



- — 


mn r 

1,800,000 



i 

m 

and counting 

u 

ed 

L- 

til* 





111 

A column by 


Ml 

Sill 

Prisoners, 


I am sick and goddamn tired of all these sycophantic 
RASPy wannabe flag-waving morons. Oooooh! "I'm going to 
drag out my dusty ol' flag and fly it proud because, while I 
may not support our government, I sure as tootin’ support the 
ideals that our grand ol' flag stands for! Yahoo!" Yessir. This 
here is an open rant to all those columnists, letter writers, and 
bands who are so totally brainwashed that they believe that the 
American Rag stands for anything more than some propagan- 
da that was created in some government think-tank. 

Let's talk about these grand ideals that the flag supposed- 
ly stands for. And just what exactly are those anyway? 
Freedom of speech? Yeah right. There has never been freedom 
of speech. Sure, you can say what you want. But as soon as 
what you say becomes a threat, the powers that be will ensure 
that you are labeled a lunatic while they drag out their 
"experts" who will assure us that Capitalism is the vanguard of 
freedom and shall bring salvation to us all. The Native 
American has certainly had his fair share of freedom of speech. 
And thanks to alcohol we've been able to keep that down to a 
low roar. And if that doesn't work, well, we can always just 
throw 'em in prison. Hell, it worked for Leonard Peltier! We 
can always do it again. Yeah, the public might be outraged at 
first, but once we put our million-dollar PR firm on the case, 
we’ll spin the truth to be whatever we want it to be. Legitimacy. 
That's w T hat it’s all about. What is the point of being able to say 
what you want if what you say can so easily be denounced as 
the ramblings of the lunatic fringe? Thats one good thing 
about the Internet: A kid in his basement can set up a website 
that looks just as slick and professional as anything that a bil- 
lion dollar media conglomerate can put together. And that is 
legitimacy. Freedom of speech is pointless without legitimacy. 
Our small independent papers and newsletters are discredited 
by their very own unprofessional appearance thereby render- 
ing the effectiveness of freedom of speech nonexistent to the 
majority of the population. And it has always been this way. 

Freedom or religion/Separation of church and state. First 
let me state that anyone who needs the crutch of religion has 
their own weaknesses to deal with. I am not a proponent of any 
kind of organized mind control. But, I do believe that if you 
should so choose to believe, that is your right. But does free- 
dom of religion, and further more, the separation of Church 
and State truly exist? Yeah, right. As long as your religion falls 
into the realm of accepted religions. Let's ask the Native 
American and the descendants of African abductees about the 
preservation of their native faiths, andjust how respectful our 
rounding fathers were of these faiths. There's a reason why all 
of our currency must be printed with the slogan: "In God we 
trust." So much for separation of church and state. 

Freedom and justice for all. Do I really even need to 
address this issue? There has never been freedom and justice 
for all in this great and fair land. That is nothing more than a 
myth. 

The right to the pursuit of happiness. Oh yes, I’m sure the 
natives of this country were very impressed with the concern 
the founders of our country gave to their right to pursue hap- 
piness. I enjoy smoking pot. But since that doesn't seem to 
agree with Society's definition of happiness, I guess that rule 
doesn't apply to me. What do ya know! 

Since the WTC attacks, everyone has been lauding the 
American populace for being so helpful and supportive of each 
other. Well big fucking deal, assholes. So it takes a horrific 
tragedy of tremendous proportions to restore our innate sense 
of humanity! Oh boy! I am so impressed with the way we have 
all pulled together to help each other. Guess what? Almost 
every other culture in the world ALWAYS looks out for those in 
need. Imagine that! Could it be that they have more of a sense 
of humanity than we do? Could it be that these foreign cultures 
haven't died inside to the point where a stranded elderly per- 
son on the side of a freeway can't get anyone to stop and help? 
Where were all these "United Americans" when two years ago 
a man who had flipped his car off the freeway lay broken and 
bleeding for hours while rush hour traffic callously passed him 
by? No one even bothered to call 911! When is the last rime you 
stopped your petroleum waste spewing machine to help some- 
one who's car has broken down on the side of the road? How 
many times have you stopped to pick up a stranger on a cold 
and nasty night and offered them a ride? When you see your 
elderly neighbor struggling to remove the twelve inches of 
snow from nis driveway, do you hurry over to help, or do you 


simply go about your business? I think it is very sad and telling 
indeed of the depths of insensitivity that we have sunken to 
when I see how the nation is pulling together. Perhaps its 
because we are all cowards who find security in numbers that 
has caused the great pulling together of the populace. Oh yes! 
We can all band together to fight the evil terrorists who desire 
to attack our grand way of life. We certainly know that it has 
nothing to do with a foreign policy that encourages the eco- 
nomic rape of Third World nations. No no. We won't change 
that! The corporations who rule this world would be dis- 
pleased, and then where would we be without them! Please 
someone write and tell me of the grand ideals that the 
American Rag stands for. And when you do, if you have the 
courage to do so, I will write you back tearing every single one 
of your points to shreds. Is that close-minded? No. I've heard 
the other side. And all I've heard is more jingoistic propaganda 

from the warmongering whores So please — Do write! 

* * * * * 

Another issue I’d like to address has to do with an epi- 
demic that has been sweeping quietly across America. This is a 
health issue that I rarely see address in the corporate media, 
and virtually never in th$ alternative media. It's called 
Hepatitis C Virus. How many of you know about HCV? I will 
quote from the website for the FDA Consumer magazine. 

"The nation's most common blood-borne infection, hepa- 
titis C is estimated to affect some 4 million Americans in its 
chronic form. Eventually, as many as 70 percent of them will 
develop liver disease, according to the Centers for Disease 
Control and Prevention. ... 

"Hepatitis C is one of five currently identified viruses-- 
hepatitis A, B, C, D, E— all of which can attack and damage the 
liver. Widely viewed as one of the most serious of the five, the 
hepatitis C virus (HCV) is spread primarily through contact 
with infected blood and can cause cirrhosis (irreversible and 
potentially fatal liver scarring), liver cancer, or liver failure. 
Hepatitis C is the major reason for liver transplants in the 
United States, accounting for 1,000 of the procedures annually. 
The disease is responsible for between 8,000 and 10,000 deaths 
yearly. 

"Some estimates say the number of HCV-infected people 
may be more than four times the number of those infected with 
the AIDS virus.... 

"Presently, there is no vaccine or other means of prevent- 
ing hepatitis C infection. HCV exists in many aifferent 
forms,... confounding researchers in their quest to develop a 
vaccine... 

"Once HCV is contracted, treatment or the body’s defens- 
es can cure a small portion of patients. In most others, howev- 
er, HCV's frequent mutations allow it to evade the immune 
system, defeating attempts to develop a cure. Some treatments 
are available, but they don’t work for all patients. ..." 

I have hepatitis C. I got it from sharing needles with 
someone who was infected. I had no idea that I was infected 
until my buddy advised me that it'd be a good idea to get test- 
ed. That’s the tucked up thing about HCV. It rarely manifests 
any symptoms until it is far too late to treat it. So please, peo- 
ple...]! you have ever used any needle drugs and shared your 
works, go get tested now. The sooner it is caught, the better the 
chance for the treatment to work. Your local free clinic should 
provide testing, and Medicaid /Medicare would cover the 
treatments. Any time that blood to blood transfer can occur, 
you are at risk for contracting HCV. You will not know if some- 
one is infected. They may not show symptoms for decades. 
Tattoos, sharing shaving equipment, including hair trimmers, 
high-risk sexual behavior... You know the drill. Go get tested 
man. Liver failure is not very nice. There is no medicine or 
machines that will keep you alive once your liver starts to go 
bad. When that happens, your only hope then is a liver trans- 
plant, and what do you think are the odds that someone like 
you will get a new liver? Go get tested, and get the treatment if 
you need it. 

Contact any of the following organizations for more on 
hepatitis C, its treatment, support groups, and Internet mailing 
lists. Please get tested, and if you have this disease, seek out 
information. It’s your life, take charge of it! 

American Liver Foundation/ 1425 Pomptom Ave. /Cedar 
Grove, NJ/07009/ 

1-800-GO LIVER (1-800-465-4837) 

Hepatitis C Foundation/ 1502 Russet Drive /Warminster, 


PA/18974/215-672-2606 

Hepatitis Foundation International: 
http://www.fda.gov/fdac/features/1999/299_hepc.html 
Center for Disease Control: 

http:/ /www.cdc.gov/ncidod/diseases/hepatitis/c/faq.htm 

Since this is a prisoner column, I suppose it's only right 
that I discuss a prison issue. I want to talk about the food. 

I'm not going to start ranting about the quality of the food, 
or crying about trie quantity; or lack thereof. No, what I want 
to talk about is much more insidious than that. 

Have you heard of tryptophan? Tryptophan is the chemi- 
cal that occurs naturally in turkey that makes people feel 
lethargic and tired after that big Thanksgiving meal. In the 
state of Michigan, the vast majority of our meat entrees are 
turkey or a derivative of turkey (i.e.-turkey bologna, turkey 
hotdogs, turkey hamburger, etc.). Is this for economic reasons? 
Is turkey cheaper than cnicken, beef, and pork? I think not. In 
fact, from what I understand, turkey is actually more expen- 
sive than these other meats. Is it possible they are concerned 
for our health since turkey is supposedly a healthy alternative 
to the other meats that I mentioned? Yean, right! No no. I think 
it is safe to say that the Michigan Department of Corrections 
(and possibly other states-I dont know) have hit upon a way to 
safely (read "undetectably") drug the prison population into a 
form of semi-sedation. Oh yes. It seems quite clear to me. And 
if you should choose not to eat the meat? Well, sure you can get 
a vegetarian diet (a vegan diet is virtually impossible without 
suffering some sort of deficiency). But it is not an attractive 
option at all. They definitely do not go out of their way to pro- 
vide healthy or tasty vegetarian meals. Usually it is simply 
whatever is on the menu for side dishes doubled up. And 
sometimes they may even throw in a small portion of cottage 
cheese of peanut butter (no jelly, of course)! 

So I guess that's all folks! I hope I was able to educate, 
amuse, inform, and irritate. But what the fuck do I know any- 
way? 

Peace, Anarchy, Love, James Duane #214699 Huron Valley 
Men's Facility 3201 Bemis Road Ypsilanti, MI 48197-0911 


I have missed several 
columns and apologize 
profusely to anyone who 
noticed. I finally have a 
computer in my house, so 
now there is no excuse for 
missing a column. Trying 
to obtain DSL service 
through Earthlink was a 
fucking nightmare that 
kept me without online 
service for a good seven 
weeks. My advice to anyone seeking DSL is to order through a 
cable company who will personally install it for you. Anyway, 
onto the real subject matter of this column... 

Anyone who has read my column in the past few years 
knows I am a 5th grade "Sheltered English Immersion" teacher 
at a year-round school in Southern California. This is my sixth 
year of full-time teaching. I substitute-taught grades K-12 for 
three years before that. I take teaching very seriously and con- 
sider it a part of the fulfillment of my dnarma (the other, of 
course, singing in a punk band). Well, believe it or not, yours 
truly was named "Teacher of the Year." Can you believe that 
shit? I am totally honored. Now I "compete" at district level. 
Fucking bizarre... My colleagues even know I'm in a touring 
punk band and they still voted for me. Crazy. . . Even though my 
co-workers know, I let them in on my second life slowly and 
never told my students. 

One of trie moms, of one of my former students, works at 
the school. She is a classified employee and works with the stu- 
dents. Her son is in 6th grade now. I gave all the secretaries All 
or Nothing HC shirts for Christmas. I decided to give her a CD, 
tank top, and our promo poster. She's young, cute, and hip, so I 
thought she'd appreciate it. She lovea the gifts and because of 
financial strain, they were actually the only gifts she received. 
Needless to say, her son discovered his 5th grade teacher is in a 
punk band ana started listening to aonhc non-stop. He also had 
to call his best friends (my other former students) and inform 


them. They were in disbelief until they saw the CD with their 
5th grade teacher's picture on it. Lisa (the mom) informed me 
that the boys wanted to see aonhc play. We had a show coming 
up at Showcase with Meet the Virus (Kirsten from Naked 
Aggression's new band). I gave Lisa a flyer. She decided she 
would take the boys to the show. 

The night of the show I was walking around and I saw 
Jackie (another former student, now in 6th grade). I gave her a 
hug and asked her how she knew about the show. She informed 
me that she "goes to Showcase all the time." Oh, now I realized 

I was dealing with an experienced punkette. She was excited 
and told me that the boys would be there soon. All of the sud- 
den it occurred to me how cool this was. How fucking amazing 
it was that our show was going to be the boys' first punk show. 
The first punk show they ever went to would be their 5th grade 
teacher's. My first punk show was 7 Seconds and Uniform 
Choice at a hall in Riverside off of La Sierra. I had to be home by 

II pm so I missed most of 7 Seconds. I remember those first 
punk shows and how amazing they were to me. They opened 
up a new universe. I didn't know it then, but they indoctrinated 
me into my life as I know it. Lifetime member of punk rock... 

Finally, the boys arrived with Lisa. I introduced them to my 
bandmates as they wandered by. Finally, it was time for us to go 
on. I directed the kids to stand right in front of the stage. Lisa 
took pictures for us. Before we started I instructed the audience 
that these were my former students and to make sure they did- 
n't get hurt. I still felt like I was at school and had to look out for 
them. Anyway... We played. I dedicated "La Maestra" (The 
Teacher) to them (my Spanish song about teaching and how 
important the students and their cultures are). I also talked 
about how cool it was that they were getting into punk so early. 
When the pit died down I asked everyone to let the kids pit for 
a song without getting hurt. It was surreal. After our set was fin- 
ished little Andrew informed me that we were "tight." I guess in 
12-year-old speak that's as good as it gets. What's funny is that 
it was really important to me that they liked the band and had a 
good time. I worked the merch for a while and went back down- 
stairs to take some pictures of Meet the Virus. To my surprise the 
kids had found their way into the pit and were Holding their 
own. They didn't have much style for the circle but what they 
lacked in circle pit agility they made up for in pure enthusiasm 
andjoy. I couldn't stop laughing. They were sooo cute and spas- 
tic. Then finally the classic event occurred. They asked me to get 
into to the pit with them. I did. I circle pitted with my former 5th 
grade students. My two worlds finally collided in a big fucking 
way. As one of the dads put it, "Sure, Eric can go to Ms. Bryant's 
show. This is a once-in-a-lifetime opportunity. How many peo- 
ple can say they saw their former teacher sing in a punk band?" 
Right about now I'm feeling even better about being named 
"Teacher of the Year." It means it will be even more difficult for 
them to fire me. 

A month ago, All Or Nothing HC played at Mission 
Records and 924 Gilman. The shows were awesome and every- 
one was so fucking helpful and encouraging. A big thanks to 
everyone who made those two show so special for us. Thanks 
especially to Love Songs who played with us with the Copy and 
Destroy spoken word tour. That was a new experience, truly 
memorable. 

The thing that bums me about SoCal is how dumb some 
people are when it comes to supporting touring bands at a 
venue. Northern California is superior in that way. I book shows 
for and have several bands stay with me, but I can't do a thing 
about some of the "stick up their asses" SoCal crowds. Sorry. I 
just purchased the new Voids record. It kicks ass. You can look 
them up at www.thevoids.net <http://www.thevoids.net/>. 

I finally received Meet the Virus's new CD which also rules. 
I'm slowly getting the compilation together and as always offer 
a lame ass apology to those who have been waiting patiently. 
Well, I suppose that's enough for one column. Go see Bowling for 
Columbine. 

Visit www.feminist.org <http://www.feminist.org/> or 
www.prochoice.org <http://www.prochoice.org/> and sup- 
port women's reproductive rights. I am not oblivious to the pos- 
sible war at hand, but I do not feel I can offer any unique per- 
spective. You can always read Chomsky or Vidal to get those. 

You can email me and I will answer you at 
webmistress@ontherag.net or www.ontherag.net 

<http : / / ww w.ontherag.net/ > 

PO Box 251, Norco, CA 92860-0251. Thanks for reading. 



What's Left? 


"Lefty" Hooligan' 

http://www.huahuacoyotl.com 


com 


My cat saved me 
from potential arrest. 

That, and having to take 
care of a busted DJ sound 
system. That's how I'm 
spinning it anyway, since I 
missed out on all the fun 
on January 18. 

Before going further, 
lets make it clear that the 
ANSWER controlled twin 
march-and-rally protests 
in San Francisco and 
Washington DC on Saturday, January 18 were but two events in 
a week full of anti-war protest and action. The traditional social 
democratic/pacifist groups have organized themselves as the 
Iraa Pledge of Resistance and sponsored local civil disobedience 
on January 16 (the anniversary of the first Gulf War) and mass 
civil disobedience at the White House on January 19 that coin- 
cided with mass student actions. And the folks of Anti-War 
Action called a Black Bloc for the San Francisco demo as part of 
their effort to organize a breakaway action. That's the one I 
wanted to support. 

Let's start from the beginning. I got an email from Jeff (all 
names have been changed to protect the guilty) introducing 
himself as a member of Anti-War Action and asking would I like 
to help out with another breakaway action from the ANSWER 
march and rally on Saturday, January 18. 

Would I li^e to help out? Does the Pope shit in the woods? 
Is the bear catholic? 

Of course I said. Jeff and I met at a cafe in Berkeley, and he 
gave me a basic outline of the event. Both of us understood the 
security needs around the action, so we left things vague. I told 
him to plug me in wherever I was needed. 

In our exchange of emails over the next couple of days, I 
learned that I would probably be helping with the portable 
sound system I praised three columns ago when I saw it in 
action at the October 26 demo. The plan as laid out at an open 
meeting of affinity groups held the Friday before the demo 
called for AWA to facilitate the breakaway march to a few key 
urban locations so that the autonomous affinity groups on the 
breakaway could take independent action. The sound system 
was to accompany the breakaway march until the first direct 
action, when it would be spirited away to a safe location to keep 
it from being damaged, confiscated, or stolen. Folks who regu- 
larly read my column know I moved from Oakland to south of 
Market, San Francisco ten months ago. I was able to arrange for 
a relatively secure place to store the sound system in the neigh- 
borhood, the idea being I would help stow the equipment and 
return quickly to the breakaway action. 

A quick aside, when my girlfriend and I moved in together, 
we each brought a cat. Hers is getting on in years, and Kay 
recently found a growing cyst on her belly. Probably just a fat 
cyst the vet told us, but best to remove ana test it to be sure it's 
not cancerous. The operation coincided with the ANSWER 
demo. My girlfriend also intended to attend the march and rally, 
the legal part with some of our friends, and so we had to divide 
up care of the cat, to make sure the cat didn't pull out the stitch- 
es once she recovered from the anesthetic. I was scheduled to cat 
sit after 5 that Saturday, while Kay went off to dinner with a cou- 
ple of friends from her photo club. 

I arrived at Montgomery and Market, the AWA gathering 
point, at 10 that Saturday morning. There I was introduced to 
Sam, my buddy on the sound. He had a van parked nearby, into 
which we would toss the sound system, carrying rack and bike 
for transport from the* breakaway to safe storage, then hastily 
return to the action. I met other AWA folks, and waited for the 


march to begin. During the march we all were to hand out tiny 
slips of paper that announced the Grove and Polk assembly 
point and 2:30 departure for the breakaway march. I had a brief 
altercation with an ANSWER peace pig as the crowds formed up 
into the march. I was caught out in the space between the front 
of the march and the police escort and was approached by a 
march security goon. 

"Unless you're press, you're going to have to step back onto 
the sidewalk until the ANSWER banner passes," he said. "You 
can join the march after the banner passes." 

Then he put his hand on me to push me toward the side- 
walk. 


"Don't fucking touch me," I snarled. "That's assault ass- 
hole." 

"Hey..." He started, stepped back, and signaled for help. I 
used the opportunity to dash toward the head of the march, 
where I ducked into the crowd as my ANSWER security thug 
shouted for me to stop. 

We stayed at our corner, some of us mixing through the 
crowd passing out flyers until close to the end of the march. 
During that time, the sound system was used to broadcast 
music, and to feature a decent South Bay rapper who often 
attracted quite an audience. Anti-War Action is anarchist by the 
way. They may have said they don't feel comfortable putting a 
label on themselves, but that didn't stop them from also passing 
out a pamphlet entitled: Peace is Patriotic and that's the Promem: an 
anarchist perspective. In every respect AWA appeared to be a typ- 
ical lackadaisical anarcho-youth group, with many of its mem- 
bers hanging out, kicking back, listening to the music and enjoy- 
ing the warm sun on a winter's day. I was soon to learn that 
appearances are deceiving. 

It was past two when things got packed up, the blaring 
sound system was mobilized and the AWA crew started for the 
Civic Center rally. Sam guided the bike while I pushed from the 
back. After a block, the music inexplicably cut out and the sound 
system died. A cell phone suddenly appeared, calls were made, 
and a repairman named Jake materialized. It seems that there 
were a couple of acquainted groups doing actions with portable 
DJ sound svstems in the march, all serviced by Jake who sped 
from one electronic problem to another on his bike. Two-thirds 
of AWA left for the breakaway march's assembly point, with 
every expectation that the breakaway's sound would be fixed. 
Jake couldn't repair it in the middle" of the street, with people 
milling around and the end of the march approaching, so we 
pushed the sound system out behind the Powell Street BART 
station, only to have one of the tires on the rack go flat on the 
way over. 

Things were not looking good. As Jake feverishly worked 
over the system components without much luck, the rest of 
AWA conferred. The remaining organizers had to get to the 
breakaway, but they couldn't just leave Sam, Jake and me to pro- 
tect a mobile sound setup worth several grand, especially con- 
sidering Sam would probably have to leave almost immediately 
for his van so we could stow the increasingly useless equipment. 
More calls were made and some help was secured for us. AWA 
also needed another sound system, which they were busily call- 
ing around for as they walked away. 

The revolution might not be televised, but fuck if it won't be 
run by cell phone. 

Needless to say, I was impressed with the level of organiza- 
tion combined with flexibility exhibited by Anti-War Action. 
That didn't exactly compensate for being stuck with a dead 
sound system instead of going on a riotous breakaway march. I 
had taken responsibility for safeguarding the sound however, 
and in the final analysis being responsible has a lot to do with 
whether or not a small revolutionary group successfully carries 
off its actions. 

It was almost 2:30 when Sam dashed away for his van. By 
the time we got the equipment loaded, transported and stored 
and we raced back to intercept the breakaway, it was almost 
4:15. The rowdy colorful breakaway crowds, still over 7-800 
strong, were celebrating just having spray-painted and paint 
bombed the Chronicle newspaper building. As the jubilant 
crowd attacked the Citicorp Building, location of the British 
Embassy, at Sansome and Market with more spray-paint and 
paint bombs, I glanced at my watch. 4:30. As the breakaway 
went on a rampage behind a screen of smoke bombs and barri- 
cades of overturned newspaper stands and trash cans, I quickly 
backtracked across Market. I had to take care of a sick cat at 5 , 
and it was about a half hour's walk home. 

You don't know how hard it was to head for home instead 
of joining in on attacks that included Wells Fargo Bank, 
Starbucks and a thorough trashing of the INS building, with 
only 2 arrests to the whole action. I had so wanted the October 
26 Breakaway to do half as much, and here was direct action 
breaking out, not to mention windows all around me. This 
breakaway was by no means the revolution, and there will be 
plenty of opportunities to join in on future breakaways from the 
Bankrupt Left's dog-and-pony protests as I argue below. Taking 
responsibility has a lot to do with whether or not a relationship 
is successful as well. 



I also had to help Sam retrieve the sound system so that he 
could take it with him in his van, but that didn't happen until 
close to 6 that day. So, you can blame my cat for why I have only 
a second-hand overview of the breakaway march to offer you. 
The tactical brilliance revealed by this summary in turn points 
up the debt AWA owes to trie bloc tactics of European 
autonomen, anti-imperialists and anti-fascists. 

First, a brief note on the breakaway's numbers and compo- 
sition. Between 2 to 3,000 people participated, about the same as 
the October 26 breakaway. Unlike the main demo, which went 
from 80,000 in October to 150,000 in January, the breakaway did 
not expand, nor was it expected to without a dramatically suc- 
cessful action under its belt. Over-the-top success on January 18, 
plus favorably sensational press coverage, should boost partici- 
pation the next time around. As for the black bloc call, very few 
members of the breakaway actually dressed up in typical black 
bloc fashion. Indeed, perhaps the most militant group in the 
breakaway was the fabulously attired, radical queer pink bloc. 

The breakaway fucked with the cops right from the start by 
instigating two separate renegade marches of about equal size 
15 minutes apart. Both marches snaked through downtown, 
chalking, spray-painting and stenciling as they went. At some 
point I assume the two marches coalesced back together on 
Market. Spotters, cell phones and signal flags were used to keep 
the breakaway coordinated and on target, not to mention a cou- 
ple steps ahead of the police. The breakaway quickly stopped 
and changed directions, sometimes even reversing course in sec- 
onds. A countdown from 10 signaled the entire march to sud- 
denly sprint for a block. Diversions and distractions by some 
demonstrators kept the cops at bay at the Chronicle and Citicorp 
buildings while other demonstrators chalked, stickered, spray- 
painted and paint bombed these targets. Newspaper stands, 
trashcans and police barricades were knocked into the streets to 
slow down pursuing cops. 

During the rampage after the Citicorp building, one indy- 
media reporter announced that the breakaway "can do anything 
it wants right now.” The INS building was heavily graffitied, 
several windows were broken including the glass front doors, 
and the metal detector inside was damaged. All the while, the 
marchers played cat-and-mouse with the police, who grew 
increasingly angry at being consistently outmaneuvered and 
outfoxed by the demonstrators. Frustrated, an undercover cop 
in the crowd pulled down one protester for arrest, resulting in a 
melee as others tried to unarrest the individual. Another person 
was arrested at this time as well. 

When the breakaway's numbers fell to 3-400 people, the 
cops attempted to corral and corner the marchers, preparing for 
a potential mass arrest. The riotous crowd refused to be 
hemmed in however, instead heading back to Market Street and 
the Civic Center. Enraged police attacked the dwindling march 
over and over, with motorcycle police attempting to drive their 
bikes into the crowd. AWA called the march to an end at the 
Powell Street BART station and attempted to peacefully dis- 
perse, only to have cops in full riot gear chase demonstrators 
down into the station. Apparently, those pursued avoided arrest 
by leaping over the turnstiles. 

"The anti-globalization movement is dead,” one of the 
masked black-clad breakaway protesters said. "But the anti-cap- 
italist movement is alive and well.” Thank Marx. Fuck apologiz- 
ing for or denouncing the breakaway's violent actions against 
capitalist property. I'm proud to have played the limited part I 
did. And for those of you who dismiss me as a 50-year-old aging 
hippie nostalgic for trie '60's, let me quote Mykel Board: "You'll 
be selling insurance when you're my age.” I don't intend to get 
stuck on the sound system the next time though. No sick cats 
either. I think I'll take my own advice before the next breakaway, 
form up a left communist affinity group and jump wholeheart- 
edly into the action. You can count on there being a next time by 
the way. That's not a prediction, but a fact in this calm before the 
war. 

(Unfortunately, I won't be reporting on the February 16 
protests in San Francisco. Originally scheduled for the 15 to 
coincide with worldwide protests, the SF events were post- 
poned until the next day to accommodate a local Chinese New 
Year celebration. I was unable to change my own plans to make 
it to the protest.) 

I'm tying up this April column in the middle of February 
(February 15 to be exact) thanks to MRR's printing schedule, 
and the US has not yet started bombing Iraq back to the Stone 


Age. Whether or not a military invasion is imminent is of course 
the sixty-four dollar question. (I'm old enough to know where 
that expression comes from, first hand.) On the one hand, much 
has been made of America's isolation vis-a-vis the United 
Nations and how we've been alienating our allies in Europe and 
the Middle East with our bullying ana how the Arab street will 
be outraged into revolt over unilateral US military action. On 
the other hand there's the momentum the US has already built 
up with massive military deployments, the waning support for 
a war with Iraq at home ana the impending scorching summer 
weather that'll make fighting hell. Guess which hand I choose. 

I predict that, by the time you read these words, the US will 
have fought and won a war against Iraq, and that a US military 
occupation government now administers the country from 
Baghdad. Cowboy America has gone it alone and pissea off the 
rest of the worla, but fuck 'em, this is the United States of 
America after all. Nobody tells the US what to do, nor does 
America have to ask for permission. The rest of the world can go 
fuck itself as far as a lot of Americans are concerned. 

It's obvious I do a lot of prognostication in this column, 
much of it wrong as when I speculated that an ongoing reces- 
sion would all but guarantee the Democrats victory in the 2002 
elections. The very nature of writing this column is a form of 
prognostication however, because there's a month and a half 
lapse between when a column goes to press and when you can 
read that column from a newsstand copy. That means, not only 
do I have to be reasonably extrapolative in the long run so as not 
to look like I have my head entirely up my ass, what I write in 
mid-February must be relevant to MRR readers in April, both of 
which can be tricky when dealing with politics and current 
events as I am wont to do. For all I Know, universal internation- 
al opposition to US belligerence has forced a five month delay 
on American plans until trie next weather based window of mil- 
itary opportunity, fall of 2003. For all I know, US troops are still 
fighting, house oy house, through Baghdad, or angry popular 
Islamist uprisings have overthrown the governments of Saudi 
Arabia and Jordan, or Israel is ethnically cleansing the West 
Bank and Gaza, driving millions of Palestinians into neighbor- 
ing countries, or a dozen other equally possible scenarios have 
occurred to amplify the crisis of war ana push the world to fhe 
brink of chaos. 

This could be an April Fools column, whether I intend it or 

not. 

Regular readers of MRR know about the April Fools issue. 
I've indulged once or twice in an April Fools column myself, 
even netted some big fools like Jeff Bale and Mel Cheplowitz, 
but in general I don't go in for such pranks. Had I more space 
I'd love to discuss, not exactly predicting the future, but how to 
get a handle on what probably is going to happen so that you're 
not too surprised when the snit hits. Right now. I'll predict that 
I'll be detailing my participation in more protests next column, 
especially if this column's predictions come true. The day the US 
starts dropping bombs, and the day after, all that horror. I really 
do hope that this column proves me the fool as far as an Iraqi 
war is concerned, and that the American war machine's brutal 
juggernaut has been stayed. 

PERSONAL PROPAGANDA... You can find the "lost" 
Hooligan column at the new, improved http://www.huahua- 
coyotl.com. To find out my real name purchase my book, End 
Time , from AK Press (POB 40682, SF, CA 94140-0682) for $10. The 
book is called Fim in Portuguese and can be ordered from 
Conrad Editora (R. Maracai, 185, Aclima<;ao, 01534-030, Sao 
Paulo-SP, Brasil) for R$ 24,90. I can be contacted at hooli- 
gan3@mindspring.com. 


Bay Area Straight Edge 

Oaktown, Sucka 

Free, the Yay Area, what- 
ever you want to call it, 
its a nice place to be right 
now if you are into 
straight edge 

hardcore/punk. While 
this has never been a 
boom town for straight edge hardcore like Boston or New York, 
we have had our shining moments (however fleeting they might 
have been). Which reminds me, pick up the UNIT PRIDE 
discography if you haven't already. There are a lot sweet bands 



worth checking out, so here you go in no particular order: 
ALLEGIANCE - Not the spooky skinhead band, but the good 
up and coming band out of San Francisco. Don't know much 
about these guys except that their singer John helped me out 
once by letting me interview him for a school project. I have had 
the good fortune of putting on a show with them, and I was 
very impressed. If it means anything, my guitarist is in love with 
this band. Heard an mp3 off their yet-to-be-released 7," and 
there is no doubt that this band has their shit together. If you like 
it fast and edge, then check out ALLEGIANCE. Definitely the 
band to be reckoned with this year. You can score a demo at 
www.eightclip.com/allegiance, or write to Ross Trenary, 1049 
Cragmont Ave, Berkeley, CA 94708. 

TIME FOR LIVING - Great bunch of guys out of the East Bay 
area. They have a more NYHC mosh-core thing going on, but 
they pull it off well. The singer is nice and sincere, and likes to 
yell 't'mon (insert location of show), lets see you move!" a lot 
on stage. Good band, good guys. Get their CD demo at 
http://timeforliving.net, or order from 5478 Vicente Way, 
Oakland, CA 94609. 

STOCKHOLM SYNDROME - OK, this band isn't a straight 
edge band. Actually, the singer has been drunk on stage every 
time I've seen them. But they have two straight edge members, 
are from San Francisco, and they fucking shred. Ten song demo 
in under ten minutes. Heard they do a YOUTH OF TODAY 
cover. You can obtain a tape demo by contacting one drunk 
Englishman at PO Box 1011, Burlingame, CA 94011. 

DAMAGE DONE - OK, this band isn't a Bay Area band (stay 
with me though). They are actually a straight edge band out of 
San Luis Obispo, but the singer and drummer live in the area. So 
they get included whether they like it or not. Their new five- 
song 7 " Never Wash Away is a ten-fold improvement over their 
last record. My favorite song lyrically is "Stand," where Kyle 
writes: "But now it seems we've got nothing to say / as our 
words get diluted each day / And there's no more "punk" in 
"hardcore punk" / 'cause it's only cool to think one way." Kyle's 
energy on stage is electric, plus he is an all-around stand up 
dude. This band definitely deserves your support. You can 
check this record out by going to www.westernXfront.com, or 
writing to 1812 11th Street, Manhattan Beach, CA 90266. 

LAB RATS - Unfortunately this band is calling it quits, but not 
before leaving behind a self-released full length CD and a split 
LP with SCISSORHANDS. The LAB RATS have been stomping 
around the Bay Area for a few years now, and have always man- 
aged an energetic and youthful stage presence. I swear the gui- 
tarist couldnt have been more than 13 when I first saw them. 
This column won't come out in time (so by the time you read 
this it will have already happened), but I am putting on their last 
show out here at San Francisco State on March 1, 2003. Half the 
bands mentioned here will be playing, so I hope to see all you 
Bay Area punks and hardcore kids there. While the LAB RATS 
will be missed, I am sure it won't be the last that we'll here from 
these guys. 

TREASON - Contains members of the LAB RATS (I told you), 
and the singer from BREAKER BREAKER. I was completely 
expecting the opposite when I heard this demo. Fast, tnrashy 
hardcore with quick breakdowns. The lyrics remind me of 
AMERICAN NIGHTMARE, but the music reminds me of a 
band like SWING KIDS or ANTIOCH ARROW. Another ten- 
song demo under ten minutes shows that this band is not fuck- 
ing around. Get their demo at 1724 Pierce St., San Francisco, CA 
94115. 

AFI - Hehehe. Just kidding. This band was voted #7 on Rolling 
Stone's list of bands to look out for in 2003. I believe the article 
used the words "Straight edge, mascara-clad heart throb..." I 
heard an advance of the new album. If you like drum machines, 
ENYA worship, and Annie Lennox impersonations, pick this up. 
In Other News... 

Has anybody heard the new Suicide File LP? This record 
exceeded all of my expectations and then some (see my write-up 
in the review section). Not only does this record fucking rook 
like AC /DC (I am not kidding), but Dave Weinberg once again 
blows me way with his lyrical prowess. My vote for the nest 
lyrics of the year. Check out the song "The Edge of Town": "The 
cul de sac jungle is a cruel place / it's a living rotting failure 
from a different age / and if you're looking for a place that 
dreams go to die / It's not in the city it's around the outside / 
You can mortgage your future for sun bleached purity / and 
accept the sterility in exchange for security / but no matter 


how many times you run from your fears / the same problems 
always reappear / Day after day it's all just decay / and the 
promised land iust gets further away / On these dead lawns lie 
your father's dreams / White flight / White blight / White 
screams / On these dead lawns lie your mother's dreams." 
BAD RELIGION couldn't have written a better song about 
suburbia. My hats off to Dave and the rest of the crew for cre- 
ating one of the sickest albums of the year. 

Ever heard of POINTING FINGER? Yeah, neither had I 
until I got their new Transcend 7" on Commitment Records. 
This Portuguese band produced hands down the best 7" I 
reviewed this month. Yeah, so their name is cheesy as hell, and 
the guy kind of sounds like Ray Cappo during his stint on the 
Whiny Years. But who cares when the band fucking smokes 
like George Burns? This is one of the better straight edge bands 
coming out of Europe right now. If I were a label in the US, I 
would be tripping over myself to put something out by this 
band. Check tnem out, particularly this record. You won't be 
disappointed. 

End Notes and What Not 

So I wasn't able to interview DESPERATE MEASURES or 
FAR FROM BREAKING for MRR, however I did get a great 
interview from Dave Byrd and the rest of the SD crew while I 
was in San Jose. I am just waiting on them to send live pics. If 
anyone has some sick STRIKING DISTANCE pictures that 
they wouldn't mind lending me to accompany the interview, I 
would appreciate it. The sooner I get the pics, the sooner you 
get to read about Dave Byrd talk about his Masters Degree in 
Human Resources. Dave byrd a "people person"? Who Knew? 

The new KNIFE FIGHT 7" should be coming out pretty 
soon on My War Records. Every time I see this band adver- 
tised, they mention ex-members of CARRY ON and SHARK 
ATTACK, but no mention of LIFES HALT. Which is funny con- 
sidering that KNIFE FIGHT is not only made up of two LIFES 
HALT members, but one of them is none other than the Hottest 
Cali Stud, Crucial Chuck. In just listening to the demo, his 
presence on guitar cannot be denied. Check this band out if 
you're a fan of early POISON IDEA or NEGATIVE 
APPROACH. The cover art is being drawn by the guy who did 
the KILLERS and PUNCH IN THE FACE records. Should be 
as intense as Jon's ankle tattoo. 

Well, that is about it for this month. Hardcore music 
should stay out of big business and in the streets where it 
belongs. Before you send 
demos, you might 
ih8thekids@hotmail.com. 


You will sadly hear that 
a disaster has accompanied 
the commencement of an 
enterprise which you may 
have regarded with such evil 
forebodings. My first task is 
to warn you for your own 
welfare and the cataclysm 
due to the success of my 
undertaking. 

— opening paragraph of 
Frankenstein by Mary 
Shelly 

The Hasidim tell how when G-d made the human male, he 
left on the foreskin ,so the creation would be incomplete. It's up 
to humanity, says the tale, to finish itself. 

That's such a beautiful story, I wonder if I too should leave 
on the foreskin. It's such a nice penis, it seems a pity to change 
it. I don't even know if Mom was a Jew. 

Deciding against further trim, I carefully stitch the organ 
onto the body. Tnere will be scars. I'm afraid. But at least he'll be 
able to pop a chubby. 

That's the last step. I've completed my creature. Now it 
rises toward the lightning splitting the night sky. Gears whir. 
Slowly the table rises, my naked creation with it. Higher and 

higher to catch the spark that will give it life... 

************** 

I created a monster!! Not a human one, of course. Not even 
a pieced-together human. But a monster just the same. ‘How 
could I have imagined? One column. One off-hand remark 


those limited colored records and 
want to email me at 



about my love of Negroes. One note about how Negro culture 
creates white culture in modem America. Just 17 kilobytes and 
POW! They flip the script. 

Blame spills over me like Nickelodeon slime. Maybe I am to 
blame. But at least you should see how I fought the monster. 
How I tried to destroy my own creation. You've heard rumors 
from others. You think you know the story. Well, bust this: 

It's Saturday morning. Early. That time before the numbers 
on the clock focus themselves. That time before creeping sobri- 
ety conquers the fluid pleasure of the night before. That time 
before any rightful person would awaken for anything other 
than expelling a liquid. The phone is ringing. The fuckin' phone. 
That two-way blignt on humanity is invading my quality time. 
Still blinded by last nieht's Olde English 800, 1 slip from the bed 
to the floor. I crawl the agonizing three feet to the evil white 
plastic. I fumble. The receiver falls to the floor. All the better. I 
don't need to hold it. I can just lie here and gurgle into it. 

"Mmmmmm..." I say. A Waddaya want? y ' 

"It's me, you see. Tellin' you the way it's gonna be." comes 
the male verbalization from tne other end. 

"Mike?" I ask, recognizing the voice of my editor. 

"Mike, Myke?" comes the reply. "It used to be Mike, Myke. 
Now it's a name I dislike, Myke. But I'm no predator. I'm the 
editor. I'm a poet and I know it. So I need a name like Blake-ah, 
Jake-ah. So you can call me Take-ah. But don't nap, this is rap, 
so I gotta bask in some vapahs. Not Jim Nabahs. More famous. 
Not Amos, but something like the city. Get the nitty? It's the grit- 
ty. So call me Gotta Take-ah P. Diddy." 

I wonder if maybe what disturbed my sleep wasn't the 
phone, but a nightmare. Maybe I'm still sleeping. Maybe the god 
of charcoal filtration is attacking my brain. 

"Do you know what time it is?" I ask, not knowing what 
time it is, but knowing it certainly is the wrong one. 

"Time? Fine. Who cares about the time. Slime. The call is on 
my dime. Slime. Why fight, right? It's trite, right. See we been up 
all night, right. Re-reaain.' You're leading. Teamin' what you 
said 'bout being white, right?" 

My brainfog clears enough for me to make a full sentence. 
It is a question. Two questions. "What the fuck are you talking 
about? Are you referring to my I Like Negroes column?" 

This time a female voice comes on the line. It's Arwen, the 
other half of my editor. 

"You spot it. You got it. That's what we're talkin' about it..." 

"Arwen," I say, interrupting her, "how'd you get on the 
line?" 


"Why what's your bone of contention? I'm on the other 
extension. You feel a little tension..." 

"Hold it! Hold it!" I shout into the phone. By this time I'm 
sitting uprieht on the floor. My brain is clear enough to con- 
verse, but I m holding back a tremendous beershit building in 
my lower intestine. 

Tightening my sphincter, I speak into the phone. "What is 
going on? When I said I like Negroes , I didn't mean we should be 
Negroes. I meant that people should be proud of their differ- 
ences and not try to conform to the mainstream. You and I can't 
be Negroes any more than a mouse can be an elephant." 

Arwen answers. "It ain't race, Ace. It's the taste, Ace. It's 
what you want that really matters. If you're not black. Jack. 
You're not whack, Jack. Take a look at Marshall Mathers. Now 
this punk junk. It's some skunk, punk. You talk about your ele- 
phant. I tell you fair. It's just not there. It's what you call irrele- 
vant." 

By this time, my double deuce juice is doin' a driveby in my 
stomach. 

"I gotta go." I tell the pair. Hanging up the phone, I bail out 
and pinch some phat brown ones. 

By now, you know the rest of the story. You've heard it 
through the grapevine or read it in the competition. This issue, 
the April issue, will be the last ever of Maximum Rock' n Roll. 
Starting in May, we become Maximum Hip and Hop. 

Since I rarely write about music, that 1 s not a big problem for 
me. Other columnists won't have it so easy. What will Felix 
Havoc have to say about Queen Latifah? Besides, that isn't the 
main point. 

What is? 

If you have a zine with a focus, you'd better lose yourself in 
that focus, don't choke us. You own it, you better never let it eo. 
You only get one shot. Do not miss your chance to blow. This 
opportunity comes once in a lifetime, yo. 


Is that clear enough? No? Ok, let me try it again. 

MRR'S DECISION TO BECOME MHH IS A BIG MISTAKE. 

Can I make it any clearer? However well intentioned, it's 
just bad. There are enough hip hop magazines. There are 
enough rap-related niches already filled. Can't we have our own 
little world of interest? Just because Punk Planet changed its 
name to Fear of a Punk Planet , doesn't mean that we have to go 
one step further. Because Heart Attack is now Heart Wilding does- 
n't mean we have to worry about being last on the bus. It does- 
n't matter if we're the only ones on the bus — as long as it's the 
right bus. 

I'm off the john. Wiped cleanish, with that satisfied feeling 
that comes after a good beershit. Ready to do combat, I call the 
MRR mansion in San Francisco. Someone picks up the phone. A 
voice neither Arwen or Mike answers. In the background, a CD 
plays a female saying something about flip it and reverse it. 

"We got the hip and the hop and we ain't gonna stop..." 
says the voice on the phone. 

"Lefty?" I ask. "Is that you?" 

"Lefty was before," comes the reply, "but I ain't no whore. 
Lefty was hefty, but berefty. But hey, from today. I'm def. Def 
Left." 

"Not you too!" I cry, my tears audibly dripping into the 
phone. 

"What about your politics?" I ask him. 

"That's no problem. I can solve 'em. And still fight George 
Bush. Knock him on his tush." 

"That's awful," I tell him. "You can't use tush in a hip hop 
song." 

He doesn't hear me. Instead he keeps going. "It's Dick 
Cheney and Giuliani, sittin' eatin' their spaghetti. At this hour, 
they got the power. But soon they'll be pissing in the shower." 

I cut in again. "That makes no sense. Everybody pisses in the 
shower. What does that mean? And Giuliani doesn't rhyme with 
Cheney or spaghetti." 

"Wadaya mean?" he says. "They both end in i, don't they?" 

I roll my eyes audibly into the phone. 

He continues, "And Ashcroft, ne's too soft. He'll be eatin' 
lead and then he'll be dead." 

"Okay, okay," I tell him. "Let me talk to Arwen." 

"Sure Myke, hold on. I think they're chillin' by the pond." 

The phone goes dead... except for the CD in the background 
that's saying " Gimme all your numbers so I can phone ya. Your girl 
acting stank than call me ov-ah. Not on the bed, lay me on your sofa." 

Not bad stuff, when you think about it. I like this layin' on 
the sofa stuff. If she looks like she sounds, layin's not a bad 
idea... No! I won't lose my resolve! Besides what the fuck does 
"pond" mean? There's no pond by the Maxipad. It must be hip 
hop talk. Maybe it means toilet. I aonno. I'm gonna have to learn 
a whole new language. 

Arwen picks up the phone. "How's my Captain Save-A- 
Ho?" she says. 

"What are you talking about?" I ask. "Can't you stop this 
for a minute ana talk straight?" 

"Why you bein' so cat. Matt?" she says. "Ain't you readin' 
the Koran? Get with the program. The true you ain't gonna be 
black leather. Get with the Fubu. It's the new you. Not a friend 
that'll only do fair weather." 

I give up. I hang up. I wish I could make her shut up. I 
fucked up. I'm a schmuck, yup. I got me the former-punk terror. 
I gotta end now. Eat some dog chow. I ask you to be a bad news 
bearer. You gotta write 'em. Don't delight 'em. And tell 'em this 
whole thing v s in error. 

[If you want to keep MRR punk, send you protest email to: 
maximumrnr@mindspnng.com. Tell 'em you think there's still a 
place in the world for a real punkrock magazine.] 

ENDNOTES: [Visitors to my website: mykelboard.com or subscribers 
(email to: god@mykelboard.com) luill receive a few extra endnotes. 
There are just too many to keep up with.] 

--> Yeah! dept: The Associated Press reports that a Finnish court 
fined a driver for doing 46 mph in an 30 mph zone. The fine was 
for $103,000. Are the Finns’ that concerned about speeding? 
Nope! It's just that Finnish law defines traffic fines as a percent- 
age of income. The rich creep who was speeding earned $5.2 
million last vear. 

Those Finns do it right. The NY Times reports that the Finns 
have the most lenientjails in Europe and maybe the world. TVs 
in each cell, no bars. Cells like tiny hotel rooms. And what does 
it get? The lowest crime rate in Europe! Ah, those Finns. 


-- >Barnes and Nobelization dept: I've often written how the 
biggest problem with today's homo movement is the desire to 
be straight. That means integrating homotude into everyday 
globalization. No more uniqueness, only a vague mushy us. 

Ted from See Hear forwarded me some email about the 
closing of The Oscar Wilde Bookshop. It was the oldest homo 
bookstore in the country. 

"I have lost a quarter of a million dollars over the last six 
years," its owner, Larry Lingle, said. "And I just can't take it 
anymore." 

Opened in 1967, The Oscar Wilde Bookshop was on 
Christopher Street for many years. The NY Times article says 
with some accuracy. 

Some said that the failure of gay bookstores in Manhattan was 
actually a sign of the gay movement's success in making gay 
issues mainstream , which would be in keeping with what Oscar 
Wilde wrote in "Lady Windemere's Fan": In this world there are 
only two tragedies. One is not getting what one wants , and the 
other is getting it." 

—>lf he finds it, ne should help GWB find his dept. 

Tnis is probably from Kesha, who contacts me less than she 
used to: 

In Ohio, an unidentified man in his late twenties walked into a 
police station with a 9-inch wire protruding from his forehead. He 
calmly asked officers to give him an X-ray to help him find his brain, 
which he claimed had been stolen. Police were shocked to learn that the 
man had drilled a 6-inch deep hole in his skull with a Black & Decker 
power drill and had stuck the wire in to try and find the missing brain. 
--> Wish they were foxier dept: 

This is from the March 1995 issue of Scientific American. It's 
about a monkey called the Bonobo. I only wish it were about a 
certain other animal. 

The species is best characterized as female-centered and egalitari- 
an and as one that substitutes sex for aggression. Whereas in most 
other species sexual behavior is a fairly distinct category, in the bonobo 
it is part and parcel of social relations— and not iustbetiveen males and 
females. 

Bonobos engage in sex in virtually every partner combination 
(although such contact among close family members may be sup- 
pressed). And sexual interactions occur more often among bonobos 
than among other primates. Despite the frequency of sex, the bonobo' s 
rate of reproduction in the wild is about the same as that of the chim- 
panzee. A female gives birth to a single infant at intervals of between 
five and six years. So bonobos share at least one very important char- 
acteristic with our own species, namely, a partial separation between 
sex and reproduction. 

This finding commands attention because the bonobo shares more 
than 98 percent of our genetic profile, making it as close to a human as, 
say, a fox is to a dog. 

~>So that's where they went dept: 

Interested in finding out what happened to those promos 
you sent out with no reviews or airplay c You can buy 'em back 
at www.gemm.com, the best place on the web to find used 
CDs/Records... anything. It's where I sell all my promo stuff. It 
looks like everyone else does too. I bought my first 7" back from 
Sam McPheeters! It's a great place to ditch records if you need 
cash. 

->Good things about checkpoints dept: 

The Door Magazine reports that cops charged Rabbi Samuel 
Greenbaum of Detroit with DWI. He refused to take a breatha- 
lyzer test and was pulled in for questioning. Good thing too. The 

f ood rabbi was on his way to perform a circumcision on a local 
id. Is that the finishing G-d intended? 


There's two great 
brand new punk rock 
bands coming out of NYC 
that I'm excited about. 

One of them is the LIT- 
TLE KILLERS. The Little 
Killers are so great, I pre- 
dict that their debut 
album, soon to be 
released on Crypt 
Records, will make the 
top ten list of anyone who 
hears it! These two gals 
and a guy have a straightforward punk rock sound. It reminds my 


boyfriend and me of the early punk rock of the Australian group 
the SAINTS, because they have the same kind of driving throb as 
on the Saints' most recognized song, "I'm Stranded." But the Little 
Killers sound more original and are more fun! When we men- 
tioned the Saints to Andy, the singer/ guitarist of the band, I was 
surprised to learn that he'd never even heard anything by them, 
ana I thought that made it all the more cool! 

Another really good new band you'll probably be hearing 
about is the TIE REDS. They're two gals ana two guys who also 
play in a Killed By Death classic punk style. They nave a power- 
house of a drummer who really propels this bass/guitar/organ 
driven group. Everybody in the group sings, although the guy 
who is the guitarist takes most of the lead vocals. The organ piay- 
'er is also interesting, because when she's not playing he* primitive 
gararge-esque keys, she does backup percussion. Both of these 
groups play a lot in a new scene that seems to be developing 
around a series of events called Dot Dash (named after a very 
early song by WIRE fron\.the late 70s, back when they were still a 
reat band.) Tom Hyland, the ex-PRIMATE-FIVE drummer from 
eattle, moved to New York City some years ago, and now he's 
setting up shows for these terrific and promising new bands... as 
well as other bands who play punk rocK and/or garage punk. It's 
cool to see this scene-within-a-scene starting to take shape. You 
can learn more about these bands at the Dot Dash website, 
http://www.dotdashnyc.com/ and while you're checking it out, 
may I also suggest to take a glance at my pal Justina's website. She 
has taken some great photos of the Little Killers and the Tie Reds 
as well as many other NYC bands that I love to go to see, like the 
SPITOONS, ROTGUTTER, MZ. PAKMAN, the YAMS, SATO & 
JONNY, SEA MONKEYS, LONE WOLVES, SHEMPS, OSCAR & 
THE PIDGIN SISTERS, plus out-of-town bands that have toured 
NYC, like the BRIEFS, HATEBOMBS, KAISERS, etc. Justina's site 
is at http://www.whatawaytodie.com/ 

Now on to some political crap: the whole space shuttle disas- 
ter is being milked by Bush to get people to go along with his reli- 
gious bullshit. If you heard his little speech about the Columbia, 
you know that he kept mentioning God and quoting the bible. In 
fact, in every speech this guy makes, he has to make sure to men- 
tion God. It's appalling. It's as if whenever Bush is given some- 
thing to read by one of his speech writers, he must be sending it 
back with little post-it notes that say: "There's not enough about 
God in here — rewrite it!" I firmly believe Bush is a dangerous reli- 
gious fanatic. In addition. Bush's State of the Union address was a 
pack of lies, and disgusting ones at that. 

"To lift the standards of our public schools, we achieved historic 
education reform which must now be carried out in every school and in 
every classroom so that every child in American can read and learn and 
succeed in life." 

This is a lie. Bush has done nothing — zero, zilch — to help the 
school system. The only thing that Bush has pushed is to create a 
"voucher" system so that parents can remove their kids from "fail- 
ing" schools, and put them into private (and especially) religious 
schools. This does nothing to help the public school system. Bush 
is quite willing to see that rot. If he'd have his way, there would be 
no public schooling anymore. The "Privatization" of everything 
from education, health, and social services is what Bush wants. 

"Our first goal is clear: We must have an economy that grows fast 
enough to employ every man and woman who seeks a job." "After reces- 
sion, terrorist attacks, corporate scandals and stock market declines, our 
economy is recovering." 

Our economy is not recovering. In order for there to be a recov- 
ery we have to see figures that indicate new businesses are start- 
ing, established businesses are flourishing, and the numbers of 
unemployed are going down. New businesses are not starting. 
Established businesses are struggling, and more people are being 
laid off and/or on unemployment than ever before. It was not a 
high profile news item (because there is no longer any domestic 
news coverage — just 24-hour war propaganda), but Congress had 
to extend unemployment benefits for another three months to the 
unemployed. Clearly... these people are not finding new jobs. 

"Jobs are created when the % economy grows; the economy grows 
when Americans have more money to spend and invest; and the best and 
fairest way to make sure Americans have that money is not to tax it away 
in the first place. I am proposing that all the income tax reductions set for 
2004 and 2006 be made permanent and effective this year. And under my 
plan, as soon as I've signed the bill, this extra money will start showing 
up in workers' paychecks." 

Income tax reductions will not help the unemployed. Who has 
income? Not the unemployed. (Although if the unemployed in 




fftH GILMAN 


SUBTERRANEAN 

MAIL ORDER 



AUTOMATICS “The Missing Album” LP 

Recorded in 1 978 but never released due to an aborted 
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7" $4.60 

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Nasty, lo-fi teen grind on this Northern Ireland punk gem 
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LP $12.60 

CONFLICT “The Ungovernable Force” LP i 

Formed in 1981 by vocalist Colin Jerwood, Conflict was j 
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Gatefold sleeve, Italian import. 

LP $9.60 

“WHO? WHAT? WHY? WHEN? 

WHERE?” comp. LP 

When this anarcho-punk compilation was originally re- 
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LP $9.60 

VIOLATORS “Gun Control” LP 

Crude, high-energy Colorado punk rock in the style of 
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LP $11.40 

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DFI 

self-titled CD 

Fourth full length release from Didonato from 
Illinois. This disc is a genius mixture of the 
Fucking Champs, Orthrelm, Ween and 
Fantomas. Even the song titles speak volumes: 
“Myopic Dystopia”, “The Devil May Not Care”, 
“Crystal With A ‘K”\ and "The Dudes Are 
Stoked”. 

$10 post paid. 

Coming Soon: 

repressing of the first Storm The Tower T 
The Ex "Beautiful Frenzy" video 
Flowers In The Dustbin CD 
Metro Youth / Sanction CD 
second Storm The Tower T 

Honey B£ar Records 
1730 E. Oltorf #135 
Austin, TX 78741 
honeybearrecords@hotmail.com 

Excessively distributed by Revolver 


CHURCH 
Palestine 

A new CD of all unreleased material recorded as 
a demo for an unreleased album from back in *97. 
Includes “Not Proud Of The USA”, “State Of 
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stuff. 

$10 post paid. 







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Twelve songs ef Intense nunk 
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LIM 
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Ten-notch hardcore thrash by 
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Prices belew are for KNOW SECONDS releases 



Prices 

7" 

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USA 

3.50 

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question are collecting unemployment benefits, they do have to 
pay income tax on it. Explain that one! The government grants this 
monev to the unemployed, and then forces them to pay part of it 
right back to where it came from. Why not just withhold the tax? 
Or simply not charge the unemployed with income tax in the first 
place.) As for the notion that lower taxes will create new 
jobs... says who? This has been the lie the Republicans Jiave tried 
to cram down our throats for decades. It's outright dishonesty 
designed to get votes. I'm no economist, but it doesn't take one to 
see that when Bush talks about lowering taxes he's speaking of tax 
cuts to help the rich get richer. The extraordinarily wealthy are 
Bush's buddies. 

The best way to address the deficit and move toward a balanced 
budget is to encourage economic growth and to show some spending dis- 
cipline in Washington, DC. We must work together to fund only our 
most important priorities." 

Important priorities to whom? How much do you imagine 
the proposed war is going to cost? Why is a war a priority wnen 
weapons inspectors have been over in Iraq for months and only 
found a few empty and forgotten missiles in a warehouse? It has 
been reported that the Pentagon is planning for the air force and 
navy to launch approximately 300 to 400 missiles that are not 
empty at Iraq on 'V\-Day" (Air Strikes Day). That's more missiles 
than were launched during Bush Sr.'s entire 1991 Gulf war. Bush 
Jr. wants to drop 400 missiles just on day one of the new war. That's 
Bush's idea of ^spending discipline." Unnecessarily bombing the 
Iraqi civilians into oblivion does not make Bush seem like much of 
a spend- thrift to me. 

"For many people, medical care costs too much, and many have no 
coverage at all. These problems will not be solved with a nationalized 
health care system that dictates coverage and rations care. Instead, we 
must work toward a system in which all Americans have a good insur- 
ance policy, choose their own doctors, and seniors and low-income 
Americans receive the help they need . " 

Here we have another big lie. Bush says a nationalized health 
care system will not solve the health care crisis. Well if the crisis is 
that too many people cannot get health care, then a single payer, 
national health care system, such as the kind that exists in all of the 
other industrialized nations on this globe, is exactly the thing that 
will solve the problem. National health care for all Americans 
would mean that no citizen would be without health coverage. All 
health care would then be a right for every American, not a privi- 
lege of only those who can get good coverage. Notice that Bush 
flatly states that national health care will not solve the problem 
but, then doesn't offer any explanation of why it wouldn't solve 
the problem. He only vaguely alludes to something about a 
national health care system dictating coverage and rationing care. 
There is no reason why a single payer system would have to do 
that. All you'd need to do in a single payer system is go to the doc- 
tor of your choice, show some sort of identification, and the gov- 
ernment would take care of paying the bill. This is how they do it 
in Canada, Germany, Norway, etc., and they don't get poor health 
care. Health insurance is a scam. You know it, I know it, and most 
of all, he knows it. Half of the time when you actually have a seri- 
ous medical problem, insurance will only cover part of the bill. 
Even the part of the bill that the insurance company pays for has 
to be wrestled out of them. They try every trick in the book to 
worm their way out of paying it. Finally, when and if they do pay 
out, your insurance bill goes up. So what were you paying all of his 
money into the plan for anyway? Bush is a good buddy of the 
wealthy insurance industry, the big drug companies, and the cor- 
porate medical industry. This is why he wants to keep the current 
status quo in place, no matter how many Americans sicken and 
die. That's why Bush made sure to say the following: 

"To improve our health care system, we must address one of the 
prime causes of higher cost: the constant threat that physicians and hos- 
pitals will be unfairly sued. Because of excessive litigation, everybody 
pays more for health care, and many parts of America are losing fine 
doctors. No one has ever been healed by a frivolous lawsuit; I urge the 
Congress to pass medical liability reform.' 

So here we see where the true "compassion" of this President 
lies. It's not with people who need health care, nor with victims of 
malpractice, but with the wealthy medical industrialists. Of course 
Bush would like nothing better than to dismiss all malpractice 
claims as "frivolous." He wants his buddies to be accountable to 
no one. He is urging Congress to block your right to sue if you or 
your loved ones are given poor health care which results in further 
injury, illness, or death. So clearly the so-called "reform" that Bush 
wants is an obscene perversion of the word "reform." A reform is 


supposed to make things better for people, not worse. Will 
Congress pass this repulsive "reform?" Well, considering that the 
Majority is now Republican, what do you think? 

"Tonight I'm proposing $1.2 billion in research funding *so that 
America can lead the world in developing clean, hydrogen-powered auto- 
mobiles. A simple chemical reaction between hydrogen and oxygen gen- 
erates energy, which can be used to power a car, producing only water, 
not exhaust fumes . " * 

Yeah right, and I'm JR Ewing! Let's face it, US presidents have 
been blowing this sorta smoke since the first big energy crisis in 
the 1970s. It's all talk, no action. Perhaps a hydrogen car may even 
be possible, but I'd be willing to bet that Mr. Texas-Oil-Man would 
see the reality of such a scientific breakthrough as a direct conflict 
of interest. Bush is merely proposing to throw this $1.2 billion into 
the usual fraudulent and deliberately unproductive, half-assed 
"research" that is totally sponsored by the oil and automotive 
industries! Bush is not talking about actual basic science, unen- 
cumbered by corporate ties and corporate lies. This way, years 
from now, the oil and auto industry can say, "You see? We tried to 
make a hydrogen car and we failed, but at least we proved that 
hydrogen powered cars aren't feasible." Yes, there goes more of 
your money, flushed down the toilet. 

"J urge you to pass both my faith-based initiative and the Citizen 
Service Act to encourage acts of compassion that can transform America 
one heart and one soul at a time. " 

If there is one thing I despise more than anything it is Bush's 
"faith-based initiative. Here we go again with his constant 
attacks on the separation of church and state. Bush wants to give 
your tax dollars to these religious organizations with no strings 
attached. The "faith-based initiative" does not hold these religious 
groups to any fiscal accountability. Any such groups can say the 
money is going to the homeless, or to sick orphans... but how do 
you know it's true? Bush's attitude is that since they are "faith- 
based" people allegedly providing the services, then they must be 
telling the truth. There is nothing to prevent people in need of 
social services from being subjected to proselytizing and other 
religious brainwashing. The needy want a bowl of soup, a place to 
come in from the cold, medical treatment if they are ill, reproduc- 
tive and sexual information, and drug counseling. . .they ought not 
to be subjected to the dogma of any particular religion to get this 
help. That's like blackmail. In addition, Bush's initiative permits 
the religious institutions to discriminate in their acts of charity. 
This was clearly evidenced here in New York when the Salvation 
Army refused to offer services to any gay and lesbian victims and 
their partners after the September 11 attacks. When Bush propos- 
es to give your money to "faith-based" charities, it's because 
everything these charities would be doing are things that in a 
decent nation the government should be doing. But Bush doesn't 
want to bother with helping US citizens in need. There's no time 
for that when you're planning to bomb the world. So instead, he'll 
shift his responsibility to the raith based" groups to take it off his 
hands. He'll dangle your money in front of these religious institu- 
tions and get them to compete with each other for our greenbacks. 
The fringe benefit will be that any charities that are not religious 
will be driven right out of business. I suppose Bush feels tnat it 
serves 'em right! It's their punishment for not being "with God." 

"Another cause of hopelessness is addiction to drugs. " "Too many 
Americans in search of treatment cannot get it. So tonight I propose a 
new $600 million program to help an additional 300,000 Americans 
receive treatment over the next three years. Our nation is blessed with 
recovery programs that do amazing work. One of them is found at the 
Healing Place Church in Baton Rouge, Louisiana. A man in the program 
said, "God does miracles in people's lives, and you never think it could be 
you." 

Let me pause for a moment so I can retch before I continue. 
BLEUUAGHHAAAHHHGRGLE! Ug. That's better. Look, you 
won't find anyone more straight edge, anti-drug than me, but this 
almost makes me wanna throw myself into an opium den just so I 
can blot out Bush's sickening holier-than-thou platitudes. The 
drug problem in America will not be solved by "miracles from 
Goa, and Bush is not interested in real treatment programs that 
work. If Bush really cared about the drug problem he would do 
tangible things like set up government-funded drug treatment 
centers and needle exchange programs. Here again we see the 
filthy pig Bush iust trying to pass off the social problems he should 
be dealing witn on to a bunch of holy-rollers with the ulterior 
motive of a religious agenda. 

"We must not overlook the weakest among us. I ask you to protect 
infants at the very hour of their birth and end the practice of partial-birth 


abortion. And because no human life should be started or ended as the 
object of an experiment , I ask you to set a high standard for humanity and 
• pass a law against all human cloning." 

I swear, what a goddam fuck this maniac is! Everyone knows 
that the so-called "partial-birth abortion" rhetoric is a red herring 
because the procedure is used in only a tiny fraction of all abortion 
cases. Even then, only in a dire emergency when the life and 
health of the woman is at grave risk. As for the cloning issue, if "no 
human life should be started or ended as the object of an experi- 
ment" then let's just ban all in-vitro fertilization right now! Let's 
ban sperm banks, and fertilization medications, and Viagra, and 
birth control pills, embryo transfers, and surrogate mothering. 
Let's kill all of the people involved with and born from such pro- 
cedures, because ail of them are examples of lives that were start- 
ed from experimental science. Religious fanatics always despise 
science, ana Bush is no exception. Obviously Bush is just itching 
to interfere with all aspects of our reproductive lives. Get ready, 
people. Bush is going to send anti-abortion Judges to the Supreme 
Court. He's already appointing another religious fanatic to be in 
charge of the Fooa ana Drug Administration, named Dr. David 
Hager. He is anti-choice, ana so staunchly anti-birth control that 
he refuses to prescribe birth control pills or any other contracep- 
tives to unmarried women. He is the author of insane books like 
As Jesus Cares For Women and Stress and the Woman's Body, in which 
he stated that the treatment for women with premenstrual syn- 
drome should be to read the Bible and pray. 

"We have confronted , and will continue to confront , HIV/AIDS in 
our own country. And to meet a severe and urgent crisis abroad , tonight 
I propose the Emergency Plan for AIDS Relief, a work of mercy beyond 
all current international efforts to help the people of Africa." 

I'm not going to get into in again about everything Bush is not 
doing to "confront" the AIDS plague. Needless to say, the only 
thing he "confronts" are the only proven strategies and tactics that 
will actually end the plague. Read my past columns of MRR for 
more info about how at every step of the way Bush has been 
obstructing AIDS prevention and treatment. It is especially offen- 
sive that Bush has the eall to say that he wants to "help "Africa, 
when he has been working with pharmaceutical corporations to 
prevent Africa from producing its own generic versions of anti- 
viral drugs and opportunistic infection treatments. To use litiga- 
tion to dictate that African nations must buy US drugs at prices they 
cannot afford, is not "helping" — it's economic blackmail. 

"Iraqi refugees tell us how forced confessions are obtained: by tor- 
turing children while their parents are made to watch. International 
human rights groups have cataloged other methods used in the torture 
chambers of Iraq: electric shock, burning with hot irons, dripping acid on 
the skin, mutilation with electric drills, cutting out tongues, ana rape. If 
this is not evil, then evil has no meaning. " 

While this is probably not a lie, it is certainly disingenuous for 
Bush to mention it as a reason why the USA should attack Iraq 
when so many other nations who are supposedly "our friends" do 
exactly the same things. Iraq has the death penalty for "women 
who disgrace the family" as do other Middle Eastern nations 
where Islam is the primary religion. I have to admit that as far as 
I'm concerned, all nations who go around murdering, torturing, 
and committing acts of genocide are in need of a regime change. 
On the other hand, I have moved from a position where I was not 
sure that I was against a war because I cannot accept a regime that 
routinely kills and imprisons gay men, to being 1000% against it. I 
still am not in favor of allowing any regime that commits acts of 
genocide to continue. Disarming Iraq may prevent it from attack- 
ing neighboring countries like Kuwait again, but how would that 
prevent Iraq from continuing to commit genocide within its bor- 
ders? But Bush does not want war to avert human rights abuses. 
He cares diddley-squat about human rights in any country, includ- 
ing our own. No, Bush doesn't want a war to help the Iraqi people 
remove a vicious dictator. He doesn't even want to attack Iraq 
because the words "attack" and "Iraq" rhyme. 

So why does Bush wish to attack Iraq? It has nothing; to do 
with the so-called weapons of mass destruction that the UN 
Inspectors cannot locate. Bush wants to attack Iraq because he 
wants to finish the job his daddy did not finish. Bush wants to 
attack Iraq because ne is a Texas oil man and he wants to protect 
US oil interests. Bush wants to attack Iraq because part of the 
"reconstruction" will be to create a oil pipeline in Iraq. Bush wants 
to attack Iraq because he personally does not have to fight, (nor 
did he when ne was of the age to serve) and he doesn't care what 
happens to our boys and ladies on the ground who will be forced 
to do his dirty work. Bush want's to attack Iraq because the deaths 


of innocent Iraqi people don't mean anything to him. Bush wants 
to attack Iraq because when his father did it. Bush Sr. had the high- 
est poll ratings of any president ever. Bush wants to attack Iraq 
because he does not wisn to make the same error his father did, by 
finishing the war before the election. Bush wants to attack Iraq so 
he can have four more years in office to protect his own selfish 
family interests. 

Iraq does not pose a military threat to the US so long as we 
stay out of Saddam's backyard. Bush won't do that because he is 
an imperialist who believes the US has the right to go stomping 
around the world wherever, and whenever we want to. There s no 
USSR anymore to keep the USA's big stick in check, so let's prove 
we are a dominator society who must dominate. Like animals. Yes, 
Saddam is a dictator. There are dictators all over the world. As 
lone as the USA continues to create dictatorships abroad there will 
be dictators. Some of these dictators zvill always come back to bite 
the hands that once fed it. The USA's hands. 

Dictators who commit genocide should be brought down, but 
how? I believe that there* should be a United Nations world court 
where the leaders of nations who commit genocide should be 
tried. Yes, the UN needs to be made much more effective. This is 
not impossible. Eleanor Roosevelt got the Universal Declaration 
on Human Rights adopted by all the Nations of the UN a long 
time ago, ya know. All tnat the UN needs to do ensure that the reg- 
ulations of this document are implemented. If not... then the 
national leader who breaks those laws must go before the court. 
Simple as that. If the National leader refuses to go before the Court, 
he will be tried in absentia. Then, if convicted, and if the people of 
the nation in question won't or can't turn the dictator in, only then 
would a UN military force remove the genocidal dictator by force. 
Not the USA alone. As it stands now, nowever. Bush is yakkity- 
yakking about "going it alone" and using words too big for him 
like "unilateralism." Bush is saying things like "with the help of 
our closest ally, Tony Blair..." as if war is some sort of fucking fra- 
ternity, where "brothers" help each other out to achieve their own 
self-interests and damn everyone else. 

Please understand... I'm not of the opinion that wars are 
always avoidable... but before you put any people in a situation 
like that I want the US Government that supposedly "represents 
us" to be damn sure that they have exhausted every possible solu- 
tion before doing that. Bush does not act like a man trying to do 
this. He acts like an impatient baby who is angry at the UN for not 
supporting his war plans. The Saudis are trying to broker a deal 
where Saddam is exiled... and Bush gets angry because it's anoth- 
er plausible option for peace, that he just doesn't want to have to 
deal with. Why should ne, when reacning for a gun to solve a cri- 
sis is the easiest and quickest way to enforce power, right? 

If one thing is true, I think it's this... the less bloodshed, the 
better. Think about it like this, Castro has been down in Cuba all 
this time and we haven't bothered with him since the 60s. Isolation 
is effective in stopping bloodshed. Maybe it isn't the best way for 
the Cuban people to live, but at least we aren't at war with 
them... and slowly, they are moving towards democracy... China 
too... because the people see the benefits it brings. I suspect that 
maybe if the USA just allowed other nations to live their lives 
witnout interference, people in other lands would look at what the 
USA as an example and try to adopt a way of life that seems to be 
better than what they've got. But it's the interference that causes 
the resentment. Pointing a gun in the face of these people doesn't 
win them over very well. Osama didn't attack because we just sat 
around in shopping malls minding our own business. Saddam 
doesn't have weapons because he's afraid of Sweden meddling or 
attacking. It's because they see the USA as a big bully empire that 
needs to be brought down. Everyone knows that the Roman 
Empire fell. Middle Easterners also remember that their own 
Ottoman Empire fell. The world has become a cycle of men 
attempting to build domineering empires and knocking each 
other down. As Riane Eilser writes in a history book entitled The 
Chalice and the Blade, we live in a dominator society, not a partner- 
ship society. But which would you rather live in? 

If Saddam Hussein has weapons to defend himself, and we 
know that he does, is it wrong to expect a man to defend himself 
against an enemy that he views as on the offensive? Bush is not 
defending himself. He is on the offensive and is provoking con- 
flict. Bush may imagine himself as defending himself, probably 
because it is too painful for him to look at himself as he really is. 
Attacking nations is not my idea of what the USA should be about. 
The USA should be about democracy, but I think you cannot force 
democracy abroad. People have to decide that they want it. For a 


long while the American Colonialists were happy to be ruled by 
the British monarchy The USA happened because when people 
decided that they wanted independent, democratic self-rule. The 
Middle East is not like that yet. I can't tell you how many conver- 
sations I've had with an Egyptian fellow I know named Hassan, in 
which he has told me the problem with the USA is that there is 
"too much democracy." This is coming from a man from Egypt, 
one of the most westernized of the Arab nations, who has lived 
here since the early 80s. I remember when he told me, "Here in 
America you have too much freedom of the press. If the Egyptian 
president had sex with Monica Lewinski, no one would have ever 
heard about it. Everyone in Egypt is laughing at your President." 
An "activist democracy" is one thing... but you can't expect peo- 
ple who don't want it to make it work. Democracy doesn't really 
even work here! Bush lost the election and then manipulated the 
justice system to put himself in office. How is that different than 
the conniving tricks Hitler did to put himself in power? 

Riane Eisler writes of the Minoan period of Crete as a past 
golden age of gender equality , and if you read Eisler 's evidence as 
presented in The Chalice ana the Blade, you'll see that it is undeni- 
ably compelling. No one said a perfect society has ever existed, 
but whether it once existed or never really existed, the idea of it is 
something to strive for. Do you really think we'd be having these 
sorts of problems if by magic, every man in any arena of govern- 
mental power in this world today were suddenly replaced by a 
woman who believed in partnership rather than domination? You 
know the disproportionate degree to which men are in control. If 
these men with their heads stuck in domination mode weren't 
building empires, there would be no Empires to fall. There were 
Empires that once seemed unstoppable and existed for thousands 
of years, as opposed to the puny 200+ years of the USA's existence. 
Rome's fall was not worth the Dark Ages, in my mind, and of all 
the travesties of history, the destruction of the Library at 
Alexandria was probably one of the worst. It set science, art, 
mathematics, philosophy, and intellectualism back for hundreds 
of years. But, let us not forget what sorts of men are openly dis- 
dainful of intellectualism. Hitler was one, religious fanatics like 
Falwell and Robertson are others., .and gee, um, uh. Bush is anoth- 
er. He often has publicly remarked that he dislikes people he 
views to be "intellectual snobs" and he still resents that there were 
people at Andover and Yale who were considered to be smarter 
while he was considered to be a mediocre student. Bush rational- 
izes his lack of intelligence away when he says "common sense" is 
more important to have. (Same views as Hitler.) When Texas test 
scores were lower than the rest of the nation, he simply had the 
Dept of Education in Texas change the tests to make them easier. 
This is a man some dare to call an "Education" president. 

Just because I'm anti-Bush, that doesn't mean I'm pro- 
Hussein. I'm still into the idea of taking a very proactive stance 
towards the peaceful removal of Hussein, with humanitarian aid 
to the Iraqis, assistance in "nation building" (that awful phrase 
that Bush is so very opposed to) and working with Iraq and its 
neighbors toward stability in the region. Bush's government does 
not want stability in the Middle East. They know instability serves 
their manipulative goals better. You may not believe this, but I 
think about the guys and gals in military service very often, even 
though gays and lesbians are not allowed to serve. (Except that 
now the Military are talking about lifting the ban for the duration 
of a potential Iraqi war. I guess homosexual people aren't worthy 
enough to serve in peacetime but are useful enough as cannon- 
fodder.) I remember being very fearful for the few people I knew 
in the military, when Bush was first (cough) (ahem) '^elected." I 
remember thinking, "I know one way or another this guy will 
plunge us into war." I didn't even need to glance at a crystal ball. 

I'm of a generation was too young to remember Vietnam. 
However, when I see CNN commentators express the idea that the 
people of the USA should resent presidents who involve us in mis- 
erable long wars, like Johnson/ Nixon, and respect Presidents who 
start "short, fun" wars like Bush Sr. and Busn Jr. I find it, quite 
frankly bizarre. What difference does the length of a war make to 
the loved ones of a soldier who was lost in one? Especially when 
we don't need to start this particular war, when there are so many 
other options to deal with this situation. No I'm not a warmonger 
and not exactly a peacenik, but I have yet to hear anyone explain 
why we must ''begin bombing in five minutes." Does anyone nave 
a compelling argument that can assure me that all of the peaceful 
options have been exhausted? Bush goes on about the Axis of Evil 
and we ignorant Americans all shudder with fear. Never mind the 
fact that an Axis is a group of united governments in a war. Italy, 


Germany, and Japan were an Axis. Iran, Iraq, and North Korea are 
not. Iran and Iraa are bitter enemies and have been since the days 
when they were known as Persia and Babylon, and North Korea 
has nothing to do with either of them. The only thing these nations 
have is common is that they don't cower to Bush's wishes. 
Therefore, to Bush, they are the Axis of Evil. 

Some of us don't buy Bush's stupid, simplistic words, or sali- 
vate at the prospect of war like Pavlov dogs every time we hear 
the world "evil/' So what is the answer? War? Weil, war is usual- 
ly the bully's answer. Let a bully beat you up and the next thine 
you know there are twenty bullies ready to cream you after school 
But, every war need not be fought with guns and bombs. 

Remember the cold war? We won. 

But as for Bush, and his simplistic Good Vs. Evil/God Vs. 
Satan religious extremism, perhaps the Iraqis had the right idea 
that poetic justice was being done when they said that God was 
punishing Bush for his aggression by bringing the Columbia 
Space Shuttle down. After all, Bush claims to be a "Christian," 
which is defined as one who follows Jesus Christ's example. Yet 
Jesus Christ never raised a sword in war against anyone. Jesus 
never committed a violent act in his whole life. When he learned 
people were out to kill him, he could have urged his followers to 
defend him by staging a armed revolt. Some of them even volun- 
teered to do it. But, unlike Bush, Jesus did not ask the people he 
led to waee war in his name. So, if Bush were really the religious 
man that he says he is, and if he thinks that Jesus was God incar- 
nated as a man, shouldn't he be following the example of the man 
that he can't give a speech without mentioning? 

Next issue: Phil Spector shocker! 


In the January 2003 
issue (#236), I shared the 
story of my daughter's 
weaning. A few more 
months of her off my boob, 
and I've got more to say 
about it. 

I nursed her for two 
and a half years. So from 
the time she was bom until 
she weaned, a lot of myself 
had been put on hold. I realize that a lot of myself would have 
been put on hold regardless of my choice to breastfeed or bottle- 
feed, but I know that my choice to breastfeed for as long as I did 
(FYI: worldwide average age of weaning is four years, three 
months) kept me more physically and emotionally attached to 
parenting and more detached from the activities that make me feel 
tike me ... band practice, playing shows, silkscreening, making 
jewelry, zine-related reading and writing, and of course, late night 
carousing. 

So after two and a half years of being a parent, I finally feel 
like I'm able to reclaim parts of myself that make me more than 
Emma-Joy's mommy. I'm in a band, or two again and I really did- 
n't realize how much I missed it until I started playing again. I 
can't say I was unhappy during the last two and a half years, but 
I am so much happier on a daily basis now that I've got regular 
practices and shows again! 

And I've even been able to bring Emma-Joy to the shows that 
are outside because they're not as loud and to trie inside ones that 
are smoke-free and acoustic (or not, if she'll keep her ear plugs in). 
In the past, I was more reluctant to bring her with me to snows 
because she was dingier when she was still nursing and I could- 
n't just enjoy the show; I'd be attending to her needs, including her 
demands to nurse. But now that she v s not demanding the boob 
anymore, it's really fun to bring her along. 

She gets a kick out of entertaining everyone, pre-show style 
on the microphone with her ABC's ana singing "Twinkle, Twinkle 
Little Star." She dances while we play, periodically comes up to 
give me leg hugs, and claps after every song with a big "Yeah 
Mommy!" to boot. And if sne needs something while I'm playing, 
she's got her daddy or a friend she's comfortable with — she's 
never unattended. When she was still nursing, it was definitely 
harder for someone else to meet her needs if I were around; I had 
the milk-filled boobs, they didn't. 

In addition to weaning bringing changes related to me being 
able to reclaim more of myself, weaning brought about a big hor- 
monal shift. (That's because the positive feedback loop of lactation 
is almost entirely hormonal.) The demand stopped, so the supply 



stopped too. The down side of the hormonal shift was that a big, 
baa yeast infection thought it had been invited to my body. No 
one told me that would happen and I was bummed! Not until it 
happened did I read in a breastfeeding book that I could expect 
one when I stopped lactating. Another weird thing that happens is 
that you shed more hair than normal and you get teenage sized 
zits for a while. But there's a positive that far outweighs those 
three negatives combined ... your pre-birth sex drive returns 
immediately! (The same hormones that induce lactation suppress 
ovulation and desire for sex.) 

Yes, horny in spite of the yeasty beast, geriatric style hair loss, 
and a pimply face is a much, much better way to feel. I figure that 
the time I had been spending on nursing can now be spent on get- 
ting it on. Just like playing in a band again has been Keeping me 
happy, so has sexual prowess. And when I'm happy, I'm a better 
mom. 

As always, punkparents get in touch. 

yardwicieyarns@notmail.com 

PO Box 12839 / Gainesville, FL 32604 

***** 

Part 2 of this month’s column was contributed by a brand- 
new punkdaddy, Jon Gonzales. (His contact info, is at the end of 
the column.) Wnen he got in touch, I immediately recruited him to 
contribute — in the almost three years I’ve been cloing this column, 
only two other dad voices have been heard. Lots of moms come 
out of the woodwork, where are more of you dads? 

And stay tuned — the next month's columns will include the 
Anarchist Babysitting Collective (ABC) and going on tour with 

your kid(s)! • f 
J ***** 

As I am writing this column, my son Evan has just turned one 
month, eighteen hours old. The first month has been a wild ride. 

Let's start with the delivery. I was at my job listening to a 
combination of SEVERED HEAD OF STATE and EXCRUCIAT- 
ING TERROR when my wife (who shall be referred to from here 
on out as Drea) called to let me know her contractions were get- 
ting stronger and longer. Anyone who has had a baby or attended 
a child birthing class knows that this is the point to either panic or 
reflect peacefully. (Try telling your significant other to reflect 
peacefully while she's having a contraction.) 

I cancel my work for the rest of the day as well as cancel my 
other two jobs. (I work with adults in transitional living overnight, 
and prior to that, I worked with Special Olympics. Upon arriving 
home I find that Drea is relaxing comfortably. She tells me the con- 
tractions have stopped. I then call my two jobs and tell them that 
I will be in this evening. A half hour later, the contractions begin 
again. This leads me to call work again and tell them I won't be in. 

Needless to say, a short time later, we are headed for the hos- 
pital. We arrive at the hospital, check in, and wait. (I waited, she 
labored.) Six hours later, the doctors are talking Cesarean because 
the baby turned into breach position. Drea is calm. I am calm on 
the outside, but on the inside ... chaos. I remember back to Naomi 
Wolf's book, Misconcqitions, where Naomi talks about hospitals 
doing Cesareans because they get more money for the procedure. 
Also, Drea has to be knocked out for the procedure because of a 
medical condition, thus I am not allowed to be in the room when 
the procedure is done. (I just realized that by saying procedure’ I 
am belittling what is a major fucking surgery. Let the record show 
that from here on out, "procedure" will be referred to as "a major 
fucking surgery.") 

They have a special waiting room for family members locat- 
ed right next to the neo-natal ICU. They love to add stress at the 
hospital. Considering, though, that a baby is more likely to need 
neo-natal ICU after the mother undergoes a major fucking surgery, 
does in some ways ease my mind. Thirty minutes after Drea went 
in, the nurses come out with a healthy baby Evan. (Sidenote here 
... We found out later that not only was Evan breach, but he had 
also moved down into the birth canal. No one notified the on-call 
surgeon of this. My mother-in-law heard the on-call surgeon 
yelling at the people in charge of giving him information on the 
patient.) 

Post-op, Drea was in an amusing mood. When she came to, I 
said, "Honey, the baby is doing fine. To which she replied, "I had 
a baby?" 

The rest of the hospital stay was a whirlwind of guests and 
broken rest. Drea got morphine, and I got a piece of shit cot that 
had bars which managed to grate into my back, side, or stomach 
just about the time I would be ready to fall asleep. 


Three and a half days later, we got to go home. Sometime dur- 
ing our hospital stay, we had agreed to stay with Drea's mom. At 
first I was resistant, saying we needed to learn to take care of the 
baby on our own. After one night at her mom's, I was glad to be 
there. We remained there for a few days to get our bearings as well 
as some rest. First lesson for you new parents, if family or trust- 
worthy friends want the help, let them. A good night of rest will 
prepare you for the day ahead of feedings and changing diapers. 

Once we finally returned home, we returned to a sty. I had 
been going home periodically to feed the cat as well as the fish. (In 
my mind, I don't see the need for this. The two fish are a good size 
and the cat could access the bowl with little difficulty.) I found 
myself happy to be home and even happier that I got paternity 
leave for a week and a half. This opportunity gave me time to 
bond with the baby and start learning all about this new life form 
that was/is totally dependent upon Drea and me. 

The first day back to work was nerve-wracking. I work forty 
minutes from home. I was worried that I would be needed in some 
way and be unable to bejthere for Drea and the baby. At work, I 
got the usual congratulations that go along with an event of this 
magnitude. Perhaps the best gift of all though was a client of mine 
moving out of the area and me getting to close his file. (This client 
had been a nightmare to work with over the past eight months.) 
Another highlight of work was being able to listen to music at a 
loud volume in my office. (My car is my office.) I cranked up some 
DISRUPT and some AGORAPHOBIC NOSEBLEED and did my 
job. 

During our first two weeks, we had a lot of appointments. We 
had our first appointment to check on Evan's progress during our 
first week home. This appointment also included a circumcision. 
The nurse weighed Evan and we found he had dropped some 
weight. Don't worry, parents, it's perfectly normal. During the 
weighing process, Evan did what little bathes do best, he peed. 
Not on himself, but on the nurse. After Evan finished peeing, I 
started talking to him about peeing on nurses. The nurse turned 
toward me and said, "He didn't pee on me!" Mind you, while she 
is sayine this, she has pee running down the side of ner face. I said, 
"It's rignt there on the side of your face." She said, "I've never 
been peed on by a baby." I let it go at this point. My feeling is that 
if you say a baoy has never peed you on, and you work in pedi- 
atrics, oads are you are a damn liar. 

Drea and I then went to the consultation regarding the cir- 
cumcision. Our friendly family doctor walked us through the pro- 
cedure and then asked us to leave. I asked if I had to and the doc- 
tor said they only allow parents to stay if one or both strongly 
request. "I strongly request," I said. So I sat there with my son 
while the doctor proceeded to numb the genitals and then make a 
cut here and a cut there and we were done. Evan was unhappy 
about this procedure and became even more disagreeable after we 
had to have his Bilirubin test. Bilirubin is the ena product of oxy- 

f en-carrying red blood cells. It is a yellowish tint, and thus if your 
aby is Jaundiced, the medical term for an excess of Bilirubin, the 
baby may have to have more blood tests done or be put under a 
Bili-light. Simple terms: an excess of Bilirubin means that the 
baby's body is producing more Bilirubin than its liver can handle. 
The Bilirubin test involves pricking the heel and drawing about an 
ounce of blood from the baby. Babies usually don't like this. Evan 
had to have his Bilirubin done four times. By the end of these 
appointments, I was fried. There is nothing worse than hearing 
your newborn screaming and knowing that you can't do anything 
about it because what is hurting the newborn will actually help 
the newborn medically. 

Drea and I have been experimenting to see what music Evan 
likes the best. So far, Drea's Reggae, in particularly Vivian Jackson 
and Bob Marley, have been favorites. Evan also likes TCHKUNG. 
Evan has also found a liking in the first DISCHARGE album. It 
makes him smile. 

Another lesson for you parents — If someone tells you that a 
baby's smile is just gas, smack them the fuck up. From day one, 
Evan has smiled. Like when the nurse handed him to Drea to be 
fed, he smiled. When Drea and I talk to him, he smiles. 

My final thought/ observation for this first month is how 
much Evan projects excrement and other things from his body. 
The peeing has always been a given, but yesterday as I was burp- 
ing Evan, he managed to projectile spit-up onto the couch arm. 
Then today as I was changing his diaper, which had little poop, 
Evan projectile pooped. If you have never seen this before, you are 
missing out. I heard a fart and then saw something coming out at 
a high rate of speed. Some instinct, perhaps from my days of little 


league baseball, caused me to reach out to stop what was issuing 
forth. (Actually, I had on my Aus-Rotten t-shirt and didn't want to 
have to change before work.) But I caught a handful of poop. The 
poop that got by me, (I was horrible at little league) landed about 
three feet from the changing table. This is a guestimate. I didn't 
have time to get the measuring tape as I had poop in one hand and 
a diaper in the other. 

Well, that's one month down. I feel pretty good about this 
whole daddy thing. I find myself wondering sometimes if I am a 
good father thus far. The answer tends to point to yes, but my 
thoughts still roam. Other parents I have talked to told me this is 
normal for the first child, but then you get used to it with each 
child you bring into the world. 

Here's some recommended reading for punk parents, espe- 
cially you dads. And do get involved and be a positive influence 
in your child /ren's life. 

Naomi Wolf. Misconceptions. This one presents a more realis- 
tic view of pregnancy than a lot of other books. 

Armin A. Brott and Jennifer Ash. The Expectant Father. I 
haven't found a book aimed toward guys that I really lil$e, but this 
one comes the closest. 

Vrinda Dalmiya and Linda Alcoff. "Are 'Old Wives" Tales 
Justified?" This one is an essay dealing with Epistemology, but has 
some good information about childrearing being taken away from 
women and put into the hands of men. 

Maxinmmrocknroll issue #205, the punks with kids special. 
This one's still available as a back issue. Check it out — lots of 
information and different viewpoints. 

I can be reached by email at: jon_n@hotmail.com or by snail 
mail: Jon Gonzales / 3512 E. 21 Ave. / Spokane, WA 99223 


One of the most strik- 
ing aspects of life in Third 
World countries is informa- 
tion starvation. Because 
they've learned not to trust 
their state-controlled 
media, people in authori- 
tarian backwaters carefully 
debrief newcomers. What's 
going on abroad? What's 
going on here? Did you get 
any foreign newspapers or 
magazines througn customs? 

News is a component of infrastructure every bit as important 
as roads and telephones. Businesspeople need to know if a border 
with a neighboring country is open so they can decide whether or 
not to send out a truck. Citizens need to know their government's 
international standing — are those falling bombs their leader's 
fault? Hunger for news holds a country back almost as much as 
hunger for food. 

The First Amendment enshrines freedom of the press in the 
US Constitution, but a variety of forces conspire to prevent totally 
free access to information. Residents of most cities rely on one 
large daily newspaper, usually part of a media conglomerate that 
itself owns the biggest local radio and television stations. Directors 
of that corporation and the editors who work for them are fre- 
quently loathe to offend influential government officials and busi- 
ness tycoons, for if they get cut off — excluded from access to press 
releases, interviews, leaks, etc. — their ability to collect news is 
impeded. One might argue that such "news" is little more than 
bullshit propaganda, but fear of causing offense often inhibits the 
media's natural role as a watchdog of democracy. 

Our government very rarely censors the media. It doesn't 
have to. 

Another a new, subtle form of self-censorship has recently 
become commonplace. A news story is covered in full, minus a 
crucial fact that changes the entire tenor of the piece. That missing 
bit of information is invariably something that would make some- 
one important look bad. 

The American media has, for example, devoted extensive 
coverage to political unrest in Venezuela, where mobs loyal to 
President Hugo Chavez have clashed with striking employees of 
the nation's state oil company. The crisis sparked an attempted 
coup d'etat in April 2002. To busy Americans, this looks like a sim- 
ple story of a Latin American dictator crushing struggling work- 
ers. That's because three key facts are regularly omitted from the 
story. First, the oil company strike was called by its wealthy man- 



agers, not its workers. Second, Chavez was democratically elected. 
Third, the coup plotters were backed by the Bush Administration. 
"We^were sending informal, subtle signals that we don’t like this 
guy," said a US Defense Department official quoted in The 
Guardian , an English paper that has become an important post- 
97 11 resource for Americans in search of objective reporting. The 
bully, it turns out, is us — not Chavez. 

Similarly, the North Korean crisis looks like a simple case of 
crafty commies welching on their agreement not to develop nukes 
in exchange for economic aid. Repeatedly left out of the thousands 
of words spilled daily on this topic are the contents of the 1994 
North Korea-US Agreed Framework, in which President Clinton 
promised to develop full diplomatic relations with Kim Jung II's 
regime, and North Korean warnings dating to 1999 that they 
would resume nuclear research unless the US kept up its end of 
the bargain. 

North Korea is violating the agreement. But the US broke it 
years earlier. 

The closest thing To a "smoking gun" found by UN arms 
inspectors in Iraq is 12 warheads found at an ammo dump south 
of Baghdad. Americans know that the White House considers this 
discovery a "material breach" that justifies war. Few are aware 
that, as reported Jan. 17 in the UK Telegraph, the canisters were 
empty, and are probably American-made shells sold to Iraq by the 
Reagan administration. Not much of a "smoking gun." 

Scratch the surface and you find this sort of thing all over the 
"news." Democratic complaints that the Bush tax cuts only bene- 
fit the "richest one percent" of Americans are duly reported, but 
leave out a definition of the term. Did you know that you have to 
earn more than $330,000 a year to be in tne top one percent? 
Nineteen percent of Americans don't. They told Time that they're in 
that top one percent. 

Perhaps you've read that American soldiers are fighting off 
guerrillas loyal to warlord Gulbuddin Hekmatyar in eastern 
Afghanistan. Hekmatyar, the Associated Press says, is "believed 
by Afghan and US authorities to be allied with Taliban and A1 
Qaeda remnants." That may be true. But Hekmatyar was always a 
sworn enemy of the Taliban — until the CIA tried to kill him last 
May, with a Hellfire missile fired by a Predator drone plane. 

Changes the story a little, doesn't it? 

P.S. NEW BOOK: GAS WAR: THE TRUTH BEHIND THE AMERI- 
CAN OCCUPATION OF AFGHANISTAN is now out. It's my com- 
prehensive, painstakingly researched look at the real reason Bush 
ordered the invasion ofAfghanistan: to run a gas pipeline from the 
world's biggest oil reserves (in Kazakhstan) to the sea for trans- 
portation by tankers. GAS WAR relies on mainstream sources to 
piece together the bigeest scandal of the century so far — how the 
world's richest nation bombed its poorest for the sake of corporate 
gain. GAS WAR is available through my website www.RALL.com 
or Amazon but not through bookstores because none of my regu- 
lar publishers dared toucn this controversial topic. Alternatively, 
you can mail $15 (includes Priority Mail shipping within the Ub) 
to: Ted Rail, PO Box 2092, Times Square Station, New York NY 
10108. 


I've officially entered 
the 90s and I'm totally 
fucking disgusted witn 
myself! On top being a 
new (used) computer 
owner, I just found out 
that I'm losing my apart- 
ment at the end of 
February. If bad shit 
comes in threes, I don't 
wanna know what's next! 

Seriously, I can't think of 
anything more disgust- 
ingly "mid-twenties^ than a laptop-owning couch-surfer. My 
life is becoming a Winona Ryder /Ethan Hawke movie (minus 
all the nice {stolen} clothes and happy ending). It's gotta be the 
computer's fault! I was doing (almost) great before I decided to 
get a fucking computer... now my life is turning to shit! It does- 
n't take a psychiatrist to figure out that my techno-fear (or 
hatred) ana my intense love for vinyl might be related some- 
how. Flopefully, you get where I'm coming from. . .or can at least 
laugh at it. Enough blab... here's a run-down of notable 
punk /garage new releases and re-issues! Pencils ready? GO! 


X LET’S 
GET 
HURT 





CARDWELL 





2003 has officially started: the mighty DIRTBOMBS have 
belted out two new singles! To coincide with their recent 
Australian tour, Detroit's finest decided to share the wealth with 
a couple of Aussie labels. Zerox Records (out of New Fucking 
Zealand!) was given the pleasure of playing a role in the 
Dirtbombs' discography with the release of a new 45, featuring 
cover versions of H3y My Side" (the Elois) and "I Started A Joke 9 * 
(the Bee Gees). I'm more than willing to go along with the theo- 
ry that the Dirtbombs are playing an active role in the effort to 
rid the world of Bee Gees members, as one of the Gibb boys 
croaked immediately after the release of this single. Of course, 
both tunes are stellar and you should hunt it down ASAP! I'm 
sure this single will available from the usual sources, which is 
more than I can say for their second Aussie offering, the Pray For 
Pills 7." Released on the great Corduroy Records, this is one to 
make all the scum drool: two exclusive tunes on a "live-to- 
acetate" homemade pressing of 100 copies! Apparently, 
Corduroy has done these hand-cut singles for BOB LOG III and 
DEAD MOON as well. Those of us outside Australia have vir- 
tually no chance of scoring a copy of this version (other than 
eBay, which is something I personally refuse to put up with), but 
a regular pressing will be released soon (so I hear). As an obses- 
sive fan of all things Mick Collins, I'm anxiously awaiting this 
one. 

You folks remember Kryptonite Records? This Wisconsin 
label is responsible for bringing us great shit by THE LAST 
SONS OF KRYPTON, the EVOLUTIONS, and those question- 
able VOM and DONNAS releases. Anyway, after a painfully 
long period of inactivity, Kryptonite is back with three new sin- 
gles! Leading off this barrage is new single by the SCAT RAG 
BOOSTERS, an awesome blues-punk outfit from Canada. I've 
always been impressed by this band, so I'm anxious to hear this 
new one. The next two singles proudly offer up two of 
Wisconsin's finest: the KILL-A-WATTS and the CATHOLIC 
BOYS! You might remember the fantastic split 7" EP these folks 
shared last year. Since that release, the Kill- A- Watts have taken 
snotty singles devotees by storm, releasing a slew of killer 
records on discriminating labels like Rip Off, Hate, Flying Bomb, 
and Yakisakana! If you've got a brain, you've got 'em all. This 
new one, Then And Now, is a 7" EP that features two tunes from 
1997 and two tunes from 2002, all of which are exclusive. If any 
of you SF folks saw them at Kimo's last year, you know this is a 
band that actually lives up to its name! Shockingly good! While 
da' Watts have been busy, the Catholic Boys have been hiding 
out since the split. That hasn't stopped this gang of Midwestern 
punks from hyping upcoming releases all over the place. A 
Catholic boy banned from the Rip Off Records message 
board??? They've gotta be good!!! I'm banking on this single, as 
well as upcoming releases on the Bancroft and Trickknee labels, 
to be killer. Really now... how could ex-members of TEENAGE 
REJECTS blow it? 

Radio Blast Records has been busy as of late. They've 
recently released 12" by SHAKIN NASTIES, which is worthy of 
investigation. Also, they've done a service by issuing the debut 
album hy the DISTRACTION, Calling All Radios, on vinyl. As 
you probably already know, this album has been available as a 
CD-only release on the ever-popular Dirtnap label, but it's final- 
ly made its way onto the real format. I can't say I'm completely 
sold on this band, but they were decent live and the kids seem to 
dig them. Finally, I'm sure the most eye-catching new Radio 
Blast release is a split 7" featuring the Distraction and a band I'm 
not sure I can talk about here. You've probably already got the 
record anyway... 

Here's one for the more adventurous buyers: NFJM019 is a 
7" EP compilation that features some the finest "out-there" 
bands around right now. As far as my tastes are concerned, 
PANTY RAID and ERASE ERRATA are my favorites here, but 
there are some more familiar names. Depending on what camp 
you're connected to, you'll either be elated or bored stiff. Its 
released on some label called NFJM and comes in a hand- 
screened sleeve. 

Signing up to write a "garage" column for MRR during this 
whole craze might prove to be one of the lamest things I've ever 
done... which would be saying quite a bit. Here's a record that 
could be loosely described as ' garagey", but doesn't reek of 
John Peel creaming his jeans: Rustle Up Some Action With THE 
OKMONIKSH! I enioyed this Arizona band's first single, but I'm 
all over this one! Tnis is straight up booty-shakin' Farfisa-fueled 
60s punk stomp! Like their last single, this one features excellent 


female vocals, a great beat, and perfect production. Self-released 
in a hand-numbered edition of 99! 

Looks like On/On Switch is ready to add another great to 
its roster: the LOST SOUNDS! As you might be aware, the Lost 
Sounds' output is not restricted to their Empty and Big Neck 
albums. Hate Records released an LP entitled Demos And 
Outtakes, Vol. 1 last year. Naturally, if there's a Volume One, 
there simply must be a Volume Two! On /On's Demos, Vol. 2 CD 
is basically a wide-release version of Recent Transmissions, a tour- 
only CDR made by the Lost Sounds in an edition of 15 fucking 
copies! You get alternate versions of tunes you know and love, 
plus some mighty fine exclusive material. Like all other Lost 
Sounds stuff, it's required listening. 

I think it's time for this column to take a mind-numbingly 
stupid turn: the ROCK'N'ROLL ADVENTURE KIDS have final- 
ly released another record!!! The Live On Berzerkly Radio 12" EP, 
released on S.P.A.M. Records, is not only one of the most incred- 
ibly moronic records around, it's been one of my faves for 
months. Guess that makes me a moron too! Anyway, lots of Bay 
Area folks were lucky enough to score a "preview^copy of this 
12.". .without the fuckin? album cover! Rather than wait for the 
covers to get printed, tne Adventure Kids decided to draw all 
over the white paper sleeves and sell "personalized" copies at 
their shows! To me, there is no better example of this band's 
gusto and uncontrollable hyperactivity than these hand-drawn 
copies. What incredible dorks! Oh well, the magic is now gone: 
it looks like the real covers are finally done (looKing good!) and 
the 12" is ready for a proper release! Fried Chicken!!! Whoo-hoo!!! 

The biggest mistake! made in my last column was neglect- 
ing to mention that SWEET J.A.P. finally made an album! I was 
seriously looking forward to Virgin Vibe, and all expectations 
were exceeded. This album is fucking nuts! With all these 
Japanese bands going power-pop or neo-new wave, it's refresh- 
ing to here a band that plays in the spirit and sound of the best 
REGISTRATORS material. It's also nice that they live in 
Minneapolis, if only because I might actually get to see them 
play! For now, Virgin Vibe is available as a CD-only release on 
1+2 Records, but Big Neck Records should have the vinyl out in 
the next few months. If you can't wait, visit http://www.nice- 
neat.com and snatch one up! By the way, this website could 
probably hook you up with those Japan-only FIRESTARTER 
and RADIO SHANGHAI records you've been after for months! 

Pelado Records seemed to keep pretty quiet in 2002, but 
they're back with some new singles. Their releases tend to focus 
a little too much on Johnny Thunders clone bands for my tastes, 
but they certainly aren't incapable of dropping a decent record 
or two. Thus far, 2003 has seen Pelado release singles by the 
Distraction, the ENDS and the EXPLODING HEARTS, all of 
which are decent. The Ends come off as overly poppy version of 
'77 punk, which is cool if you're riding the fence. The Exploding 
Hearts don't try to fool you though: they're just 100% power 
pop, and pretty damn good at it to boot! Their Guitar Romantic 
LP featured a few tunes that have imbedded themselves in my 
head, one of which ("Modern Kicks") is featured on their Pelado 
single. Rumored to be limited to 100 copies, so happy hunting! 

I simply can't finish up the "new shit" section this without 
mentioning a few hardcore records that have been getting heavy 
play at my place. I'm choosing these not only because they fuck- 
ing rock, but because I think any fan of the above-mentioned 
stuff could easily get into them. These won't be anything news- 
worthy to fans of the genre, but I'm guessing that a lot of the 
rocknroll record dorks are passing on 'em. First off, the 
FUTURES' Electric Wave From The Underworld LP on 625 Thrash 
is a fucking monster! If you ask me, this is just really fast and 
insane garage punk! Totally crazed, incredibly rockin' and oh so 
fun. Finally... all TRAGEDY records fucking rule! C'mon, this is 
MRR.. .I've gotta mention Tragedy! If you need a change of pace, 
try these on for size... they certainly aid the trick for me. 

On with the "Old Snit" section! I'm pretty sure the latest 
news on collectable punk singles boots /represses is of immedi- 
ate concern, so I'll start there. Last Year's Youth has recently 
unearthed a fair amount of stujff, namely singles by the GROUT 
(Do It Yourself 7 "EP) and the NOW (two versions of the Into The 
80s single and the Development Corporations single), all of which 
are decent, but far from mandatory. I've seen a rather pricey SEX 
PISTOLS "live on the radio" 7" EP boot floating around, but I'm 
not biting. I guess the ones that'll grab the most attention this 
month are the two bootalike GG ALLIN singles, You Hate Me & 
I Hate You and Gimme Some Head, both of which are on colored 


vinyl. 

Sure, the singles news is kinda blah, but I've stumbled 
across quite a few great LP reissues lately. My favorite right now 
has to oe the PROTEX Listening In... LP, released on Good 
Vibrations Records out of Belfast! I'm told this came out around 
a year ago, but these things have a way of trickling over slowly. 
More than likely, I missed out when this initially arrived. 
Regardless, I've got it now... and it's damn good! Irish second- 
wave punk /power-pop from '79 that sounds good enough to be 
first wave! 

A couple years ago, Gulcher Records resurfaced with their 
stellar GIZMOS re-issues. Since then, they've re-released mate- 
rial by MX-80 SOUND, AFRIKA KORPS, PANICS, DANCING 
CIGGARETTES and THE WALKING RUINS... not to mention 
the brilliant Red Snerts compilation. All of these are totally worth 
a look (Gizmos, Panics ana Afrika Korps in particular) and fea- 
ture fantastic, informative and seriously obsessive-compulsive 
liner notes. They've also just re-released '74-'79 material by 
Boston's THUNDERSTRAIN, so keep an out for that one. 

Add THE ALAN MILMAN SECT to the list of great 
Munster Records re-issues. Seriously, this is how shit shoula be 
done every time: 220-gram vinyl, awesome art, good liners and 
(most importantly) kilter tunes! 

Detour Records is back at it with the NAME What's In A 
Name LP. While not as fantastic as the other Detour excavations 
I've run across, there is a fair amount of good UK mod /pop 
here. I think the main problem is that there just isn't enough stu- 
dio material to draw from to make this truly worthwhile. 
Still. . .it's on Detour. . .that was all I needed to know. . . 

I for one am kinda glad to see all those Bloodstains Across... 
and Killed By Death comps take a backseat (at least for now). Shit 
was just getting too out of hand and the comps were getting way 
too shitty. However, one thing that I thought was long overdue 
was to give some of those collectable ana great early hardcore 
records the same treatment, which the Killed By Hardcore series 
finally did in 2002. The latest volume in that series definitely 
keeps things interesting: Killed By Finnish Hardcore\ I'll leave it to 
someone more qualified to dissect this one.. .don't wanna step 
on anyone's toes this early in the game. 

If all goes according to plan, next month I should be able to 
recap my trip to the LA Shakedown! Even though there are only 
a handful of interesting acts (and a bunch of dinosaurs), it 
should prove to be a good time. We shall see. That does it for this 
month. I think it goes without saying that I need to find a new 
real address before I can get a PO Box, so I'll have one next time 
(really. . .honest). Keep sending stuff to my attention at the regu- 
lar MRR address (unless Mike and Arwen tell me to fuck off and 
take care of my own shit, which is a distinct possibility). See you 
next month. . .letsgethurt@yahoo.com!! 


OK, I've been hearing 
a lot of about this war 
thing that everyone is 
protesting and I'm totally 
with you all. This shit that 
Reagan is doing in El 
Salvador is totally fucked 
up. Now on to music. 

For a long time I’ve 
threatened to write about 
Crossover, this might take 
a few months ana hope- 
fully will spark some controversy so here goes. 

"When the punks learn how to play their instruments, they 
will play metal. — Lem my 

These days metal influence in hardcore is so great that we 
barely even recognize it anymore. Quite a few bands that are 
today considered "hardcore" would for certain have been con- 
sidered metal just a few years ago. Slick production, double 
bass, guitar solos, crunching and chugga chugga riffs don't real- 
ly phase most people any more. But tnere was a time when this 
was a radical departure from the norms of the style. The history 
of punk's interaction with metal is long and contentious. At 
times it is difficult to separate the two styles and at others they 
seem totally at odds. Throughout the history of punk /metal 
interaction there have been purists in one camp or the other who 
resisted the mixing of the styles, those who readily embraced it 
and switched styles and the largest group by far who simply 


went along with it either way. It would betray one's stand on the 
issue to say that the interaction of punk and metal has been 
good or bad overall for one style or the other. But it would be 
difficult to say the each style has not been affected greatly from 
exposure to the other. 

It's hard to say what was the first "crossover" band. I per- 
sonally think Voia and Discharge were the first two hardcore 
bands to attempt to add metal to their hardcore sound. Broken 
Bones, English Dogs, DRI, Corrosion of Conformity, Accused, 
Suicidal Tendencies, and many others followed shortly after. In 
the early days of punk we hear very little about metal. In zines 
and other source material from '82 arid earlier we mostly hear 
unks talk about glam, 70s rock, and new wave bands. One 
ears occasional references to Black Sabbath. But metal bands of 
the day such as Judas Priest are rarely mentioned. However, 
when bands like Metallica and Slayer started playing speed 
metal, everything changed over night. Many have argued that 
Metallica and Slayer "ripped off" hardcore to develop the speed 
metal style. Let us remember that in the days before Kill 'Em All 
the hardest metal was stuff like Raven, Iron Maiden, Judas 
Priest, and Saxon. Metallica ratcheted up the tempo of metal to 
a hardcore cadence. Clearly they were influenced oy Discharge, 
GBH, Minor Threat, etc. They simply added the musicianship, 
production standards, and theatrics of metal to the raw speed 
and fury of punk. Things started changing rapidly in 1983 and 
'84. All over the world, speed metal was growing in an under- 
ground scene similar to the hardcore scene. The speed metal 
style that was lifted from punk was then reassimilated by hun- 
dreds of hardcore bands. Bands that had previously played fast 
hardcore, thrash and punk added chugging riffs, double bass, 
and guitar leads to their songs. This process is what we will 
heretofore refer to as crossover. 

I’m not sure who coined the term crossover, but most are 
familiar with it from the DRI LP of the same name. Actually, DRI 
had started taking on quite a bit of metal influence on their pre- 
vious LP, Dealing With It, but this became full-blown by the 
Crossover LP. DRI had their roots in the Texas punk scene that 
had spawned the Big Boys, Dicks, MDC, and Butthole Surfers. 
Following their move to ban Francisco, the metal really came to 
the fore in their music. The DRI 22-song EP/LP is one of the 
most critical early 80s American hardcore records. Dealing With 
It is still pretty boss, but by Crossover, DRI started a long decline 
into mediocre metal songwriting and performance. Another 
early US hardcore band that were thrash standard bearers was 
Corrosion of Conformity. Their first LP is non-stop hardcore 
rage. They opened for Slayer at a show at Baltimore" Loft in 
1984 and Kerry Kine was so impressed that he told COC he was 
going to call his label and get them signed the next day. He 
made that call and Metal Blade formed a subsidiary called 
Death Records, which was to release DRI, COC, Dr. Know, and 
the Complete Death compilation LPs. 

Which brings us to one of my major points. The story of 
crossover is not just one of musical style. It is also a story of dif- 
ferent ethical approaches to music. Hardcore from the outset 
was known for being anti-commercial, independent, and totally 
DIY. I must note that at its core, it still is. Metal, however, was 
totally commercial and pretty well wrapped up in the main- 
stream music industry and standard industry practices. Metal 
was all about music business as usual. This might seem like a 
no-brainer in 2003, but for hardcore punks in 1983, this was a 
stab in the back. Punk had arisen just a few years earlier as rebel- 
lion against the music business and mainstream culture. For 
hardcore to be commodified and sell out so quickly (3-5 years) 
Was a shock to most purists. Indeed, there are still many purists 
today reigniting the same battle that broke out when DRI and 
COC signed to Metal Blade. There are many who believe that 
Crossover "killed" the first wave of 80s hardcore. Crossover 
weakened the original hardcore style. It tended to stifle eclectic 
and adventurous hands by having a fairly homogenized style. 
When major labels formed "hardcore" subsidiaries, they chose a 
narrow spectrum of the then-small hardcore scene and mass 
marketed it to mall shoppers across America. This led to a shal- 
low, commercialized, ana very corny version of hardcore mov- 
ing into the mainstream. I'm thinking particularly of Cro Mags, 
Exploited, Agnostic Front and GBH circa 1985-86. This commer- 
cialized version of crossover hardcore also attracted a huge 
wave of violent meatheads into the hardcore scene, which pret- 
ty much killed most underground booking until the early/ mid 
90s. 



One of the major criticisms leveled against bands who 
adopted a more metal style in the mid 80s was that they were 
attempting to become more commercial and "sell out." We 
should note that of the hardcore bands that strayed from hard- 
core (virtually every US hardcore band except Poison Idea 
moved towards metal, rock or pop in the mid 80s) those that 
went towards metal found their success quite fleeting. While J 
Mascis, Jay Robbins, Bob Mould, and Ian MacKaye are all 
respected in the pop an indie rock worlds, Moby and the Beastie 
Boys have been quite successful in hip hop and techno, only 
Danzig has managed to cashier his hardcore notoriety into last- 
ing success in the world of metal, and that in a sort of gothic sub- 

f enre. Indeed, most of the attempts of hardcore bands to move 
eyond "crossover" into the world of mainstream metal now 
seem laughably cliche and dated. Bands such as Agnostic Front, 
GBH, and Exploited are back to playing their old punk material 
in a desperate attempt to stay profitable. And others such as 
Suicidal Tendencies have been reduced to pitiable shadows of 
their fleeting metal greatness. But this should not actually be 
surprising. As we look at the story of crossover, a pattern will 
emerge. Of all the hardcore bands that introduced metal to their 
sound, most were already very good hardcore bands. They all 
had one really good crossover album in them, then began a slide 
into metal that almost always ended in utter mediocrity or even 
totally pathetic silliness. I think we can look at the period of 
1984-8/ as a sort of golden age of crossover where bands got the 
right mix of metal and hardcore nailed. The later bands that 
arose to play crossover (Excel, Cryptic Slaughter) emerged just 
to play crossover, rather than moving from one style to another 
But those bands that did start hardcore and go to metal, ulti- 
mately failed at metal. But enough of that, lets get back to the 
music. 

Discharge were the greatest band ever, and towards 1983 
they began to introduce a great deal of metal into their songs. 
After Guitarist Bones quit to form Broken Bones, both bands 
added more and more metal influence until both went totally off 
the deep end into bad joke metal territory. Discharge's Hear 
Nothing See Nothing Say Nothing LP stands right on the brink 
between hardcore and crossover. Bones lays down some wicked 
guitar leads and the guitar production is super thick and heavy. 
However, this is essentially a hardcore record. You can hear the 
creeping influence of metal in the crunched riffing in "Protest 
and Survive" and of course the many screaming leads through- 
out the album. Soon after Pooch came in on guitar, Discharge 
released the Warning 12" which is even more metal, followed 
quickly by the Never Again LP, which compiled a number of sin- 
gles and the Warning 12". After this point Discharge went deep- 
er into metal territory with 12"s like Ignorance and The More I See. 
The vocals got less gruff and more falsetto, the solos longer. This 
process culminated in perhaps the most disappointing record of 
all time. Grave New World, which is good only for a laugh before 
it sets in how sad it really is. Discharge attempted to tour the US 
in 1986 playing this material and they were pelted with rocks 
and bottles and forced to break up ana leave the country. Score 
one for American Hardcore Purists! 

Bones took his guitar virtuosity to Broken Bones and 
released a string of increasingly metal but ripping 7"s and LPs 
starting with the Crucified ana Decapitated 7" s, Dem Bones LP and 
a live LP recorded at the 100 Club. The crossover triumph from 
Broken Bones is for sure the Bonecrusher LP on the then-new 
Combat Core label, (a subsidiary of major metal label 
Combat/Relativity). This was followed up by some pretty good 
12"s: Never Say Die and Trader in Death, and then two really hor- 
rible metal LPs, Stitched Up and Losing Control 

Some other UK punk standard-bearers also went into metal 
territory. GBH and Exploited jumped auickly on the bandwag- 
on, ana later off again as have seen albove. However, English 
Dogs and the Varukers did much better at mixing traditional UK 
unk with metal. English Dogs' first two LPs, Mad Punx and 
nglish Dogs and Invasion of the Porky Men were more like GBH 
than anything else, but by 1984 they had produced some really 
sick crossover with the To the Ends of the Earth 12". This was fol- 
lowed by the LP Forward into Battle on Rot in the UK and 
Combat in the US. One important element of UK crossover style 
(not so much as in the US) was crimped hair! The leather jacket 
and denim vest were universal from Oakland to Stockholm. But 
in the UK it was all about the hair crimpers. Just look at the back 
of Forward into Battle. English Dogs went on to release the OK 
Metalmorphosis LP and then a pretty ridiculous fantasy concept 


LP Where Legend Began that I think you would have to be on acid 
to take seriously. This LP is done up like a Dungeons and 
Dragons module complete with a map of a fantasy realm on the 
inner sleeve where you can follow the adventures of whatever 
wizard or whatever they are singing out. 

The Varukers, like English Dogs, started out playing 
GBH /Discharge style hard driving UK hardcore /punk. But by 
their last LP, One Struggle One Fignt, they had taken on a great 
deal of crossover power. I think this is one of the most over- 
looked crossover LPs and one of the best mixes of metal and 
hardcore ever. Varukers are much better known for their earlier 
unk stuff, and I love that stuff too. But One Struggle One Fight 
as some really crunchy, sick, and heavy riffs that remind me a 
lot of more current metal-influenced crust bands like 
Skitsystem, Wind of Pain, etc. It is important to note that the gui- 
tar player, bassist, and drummer or the Varukers went on to 
form Sacrilege whose LP Behind the Realms of Madness is proba- 
bly the best hardcore influenced metal record (followed by 
Onslaught Power From Hell). 

Note that I'm not dealing with bands like Antisect, Anti 
System, or Amebix in this column, because I would consider 
those bands to be more a part of the crust or proto-crust scene as 
oppsed to crossover or metalcore. I wrote about the early days 
of UK crust in the last issue of Profane Existence in an article 
called "Rise of Crust." 

Other than DRI and COC, I think the most important 
American crossover bands were Accused, Suicidal Tendencies 
,and Dr. Know. Note also that crossover was a global phenome- 
non, and bands like Rattus and Raw Power who nad been 
thrash mainstays also picked up the crossover ball and ran with 
it. But this is a story we will continue in next month's issue. That 
is, if there is a next month and Reagan doesn't push the button 
and blow us all away tomorrow. 


And I've got to wonder 
what the fuck its gonna take 
can it be undone can we stem 
the tide of violence or are we 
gonna sit back and relax and 
watch tv while the fucking have 
nots get their heads kicked in 
over and over and over again. 

— Born Against, "Nine Years 
Later" 

Days and nights spent 
wandering the streets of San Francisco start to blur together 
when your life is a contradiction. You are unemployed pretend- 
ing you are an artist, but really you drink like a writer without 
the discipline. Hemingway had a very stiff backed wooden chair 
so he'd stay awake long enough to write. I have a little metal 
chair, like you sit in in the waiting room at the clinic. I don't have 
a problem with exhaustion, just giddiness: I pace my room and 
then the whole flat and then the whole neighborhood, looking 
for coffee and understanding, and sometimes not getting either. 
Usually the coffee comes through, thick and familiar. People 
drift in and out of our lives like storylines, I follow their 
minidramas in order to escape my own. I stutter in their beds, 
half-dressed, looking for more from them then I deserve, forget- 
ting the terms of our agreements. This is not the place or time for 
this. I have made the choices, and I have structured this life to 
live it alone. Not so much alone, I am a member of a larger 
community, but I exist as an individual, not as part of a couple. 
So eating and just the general act of living is a solitary exercise; 
even love and sex are like that: somehow an act performed by an 
individual. Some people fear being alone, and others fear being 
owned. I fear both, but I choose my lonely autonomy, or maybe 
I just create circumstances that force me to accept fate as choice. 

My room in full of clues, evidence of what has happened 
the past week. Keys. Matches. Sudafed. A roman candle. A copy 
of Prince's movie, Under the Cherry Moon. And in front of me is 
an inaccurate imperialist map that says the Soviet Union still 
exists. I found it in mv room, like a clue. Its inherent inaccuracy 
doesn't matter; I don't believe the maps anyway. 

Today on the street, I got stampeded. I had just checked my 
mail and was feeling kinda rad cause I'd just gotten action. It 
was warm out, too warm for February, so I was wearing a skirt 
and pink fishnets, and there were more people on the street than 
usual. I turned up 23rd Street, on my way to a diner to drink 



DANCfnC 

TEA* 5 ,N 


-^KJCT CAST 


iced tea and write this column about seeing the Circle Jerks at a 
fancy club after seeing a bunch of punks play bluegrass at an all- 
ages DIY space. I was gonna bludgeon to death that eternal 
question: What is punk , anyway ? Is it about a sound or a communi- 
ty? My PO Box was empty, so as I walked down Mission, I was 
thinking about mail, how I've finally begun to write to old 
friends trying to not lose them. I was going to maybe screw the 
idea of writing about punk, and write about how much I like the 
postal service, 'cause 1 am not that columnist and I don't really 
want to write about the Circle Jerks or any of those questions 
about music and purity in 2003 anyway. I don't care whether 
you understand that wnat we have here is each other and what- 
ever idealism, hope, and passion we can wring out of our weary 
hearts. I was going to write about mail, or maybe about how my 
housemate, Cookie, and I have started giving each other home- 
work assignments so she'll write and I'll play music. I was in my 
head and my body was following, and some guy whistled at me 
and I kept walking, undisturbed. But then all these men cat- 
called so ferociously I was actually thrown for once; both sides 
of the street were full of nothing but men whooping at me, like 
in a movie or one of my teenage nightmares in Pnoenix, and this 
time I didn't say anything. And one point I heard my angry 
husky voice force itself to enunciate please fucking shut up to 
one of the men, but the effort had no soul. A woman followed 
behind me, yelling how much, baby, how much? And then all 
these men followed along with how much? Until a friend of 
mine caught up with me and walked me to the record store. 

What changed? I used to fight with heart. Everything I've 
had to consider with this war, with the present state of civil lib- 
erties in this country, has forced me think about tactics. Kinda 
odd for someone who considers passion to be the highest form 
of art, who celebrates, by nature, things like fighting in the 
streets, screaming when you hurt, exposing yourself. But I also 
have to consider what is sustainable and effective. I used to 
fucking rage with all of my pain from all of the injustices around 
me whenever I was attached: You try to humiliate me, I'll fucking 
expose you, I will fucking scream my head off like a crazy bitch if you 
try to fuck with me. It let out some of my overwhelming rage, and 
it fed it too; the emotions built up so intensely and they were 
released with the same vibrancy. I was using these tactics 
always, whether I was directly physically threatened or not. I 
just couldn't keep it up, it made an already emotionally taxing 
experience overwhelm me too much. You need to call people on 
their shit, but I know that one of the most important political 
acts we can commit in our lifetimes is to not be abusive to peo- 
ple. I still can't reconcile those issues, and what they point to in 
terms of larger theoretical questions about the rights of the indi- 
vidual versus the rights of the community. I understand that we 
have to resist for the process of resisting, for the simple act of 
demonstrating our dignity and humanity by standing up for 
what we believe in as an act without the expectation that our 
efforts are always going to amount to something. But I am 
unable to deny tne fact that I really want results. I want suffer- 
ing to matter, I want every relationship to make me a better per- 
son. I want to ask the men on the street to treat me with respect 
and I want them to understand how it fucks them over to view 
me the way they have been taught to, to exercise the power that 
has been denied them over someone they view as more vulner- 
able than they are. But I can't even get all the respect I need in 
my personal life, and it is so intense to make yourself a target all 
the time, to be turned into a spectacle and to react to it by draw- 
ing more attention to yourself. I used to believe that it was our 
absolute responsibility to confront people about their shit 
always, but that is not only painful, it forced me into a weird role 
with the people around me, and I hate to be condescended to, 
and I so I try to avoid being put in a position that seems to be — 
but honestly is not — inherently condescending. It just takes a lot 
of thought, and a lot of attention, 

I haven't resolved my concern about finding effective tac- 
tics of resistance for mobilizing against a war that will probably 
have begun by the time this goes to print. I hope you guys have 
some ideas, because my heart has been nearly broxen since 
George W. Bush was announced president that fateful night not 
long ago. But there's no time for desperation so lets read books 
about revolution and learn from people who've struggled before 
us. Please send Maximum a reading list and any ideas on creative 
tactics of resistance, and send me zines you wrote, personal mail 
or weird stuff off yr. floor. My address is at the bottom. 

And a Few More Things: 


The right to an affordable, safe, and legal abortion is becom- 
ing a matter of serious concern for women in the United States 
again. I think it is essential for women (queer women too — rape 
is always a threat) to begin to discuss wnat we will do if Roe v. 
Wade is overturned. I still haven't read the history of the Jane 
collective yet, but I will soon and I bet you can find it in the 
library. 

My friends in Allergic to Bullshit just got back from tour, 
and if you got to see them, lucky you. I have a tape of what will 
be their record and fuck, it's amazing. Keep an eye out for it. 

If you have a bad ankle or wrist or anything like that that 
always goes out, take internal arnica immediately and that will 
help. You can get it at a health food store in those little blue and 
white homeopathic pill containers that look like a chapstick 
tube. I have chronic problems with my right ankle and so I Know 
arnica is cool. 

Current Reading List: 

Bring the War Home ! Vol.l Forgotten Heroes, The Black 
Liberation Army and theANeather Underground Anarchist Action 
Collective, PO Box 11331, Eugene, OR 97440 (probably a couple 
bucks) 

Essays from the Minister of Defense by Huey P. Newton 

Grapefruit: A Book of Instructions ana Drawings by Yoko Ono 

Contest! Prizes! 

Send me a picture, or a couple of pictures, to use for covers 
of my zines. The person who sends me the most interesting or 
just rad picture gets a roll of film (their preference), a picture of 
my roommate (who's a girl drummer), and some other stuff I 
cram into the box! Deadline is May 2, 2003, so send photo(s), 
film preference (speed, format, and whether you prefer b/w or 
color) right away to: Kat Case, PO Box 401160, San Francisco, 
CA 94140. This is not some dumb April Fool's joke, I swear. 


The liquor store down on 
Westminster, the one with the 
sign claiming patronage by 
"the smart buyer," has been 
closed since the fall. Even 
when it was open it was 
scarcely better stocked than a 
friend's liquor cabinet, just 
three coolers full of shitty beer 
and half a shelf of ancient 
scotch bottles. The hard shit 
was on the wall in the bullet- 
proof booth in which the cashier stood. 

Across the street there's a bakery, a podiatrist's office, and a 
party store. Behind that building is the Woonasquetucket River, 
so polluted you can hear it clanking. 

The Olneyville public library, a tiny two-room affair con- 
sisting mostly of computers and children's books, is an old bank 
building. The old library is now an art and community space 
which faces one of the reportedly twelve most dangerous inter- 
sections in the US The current bank is across the street, next to 
the sandwich shop. 

The neighborhood supermarket is a Price Rite. Imagine a 
post occupation Poland, or the version of the USSR that we were 
taught in school during the cold war. It's set up so the outer 
aisles run one way, so for instance you have to go down the pro- 
duce aisle and up the cake mix aisle, you can't skip around the 
back of the aisle. It's messy one-way traffic. Then, there is no 
express checkout, just a bleak ocean of slow moving regular 
lanes. And the waits are phenomenal. On the positive side, the 
Price Rite doesn't pipe in muzac through the intercom; it's not 
uncommon to hear Jimi Hendrix and Van Halen during an aver- 
age visit (dear reader: if you do not like Jimi Hendrix and Van 
Halen )fou are either a self-conscious liar or a dipshit). 

The plasma center on Westminster always runs a healthy 
trade, as does the carwash across the street. No matter when I 
walk past, there is always a cop car exiting the "premium serv- 
ice" stall — the one with the hand polish and vacuum. The one 
that's not self service. Every time, I daydream for a minute about 
all the Latino guys working there slowly servicing the police 
cars, loosening lugs, slipping lighters up the tail pipe, removing 
wiper blades. It's at that carwash that I use the powersprayer to 
wash the emulsion off my silk screens. 

Back up Plainfield a couple of blocks, past the underpass 
and the Boys Club and the two Rent-A-Centers, is a little park 



area, a minuscule green at the fork in the road. There's an oxi- 
dized brass eagle on a stone podium surrounded by overgrowth 
and trash. On the stand is a plaque declaring that shitty little 
monument, so neglected as to be uqnoticeable, In Memory Of 
Those Who Died in Service to Our Natidn. Fair enough, I suppose. 
What have our nation's dead to care about monuments in the 
world of the living? Still, this is the kind of neighborhood from 
where our military draws the majority of its fighting troops; bars 
on windows types of places. The kids walking out of the smoke 
shop stand face-to-face with a very real option in the duly noted 
dearth of opportunity that their parents and grandparents ate 
shit to get to. In Memory of Those Who Died in Service of Our 
Nation. 

Every day around 4:30 the commuter rail roars through 
Olneyville on way to Boston. When the space next to mine was 
open last summer you could see it from our the windows, but 
people live there now. I imagine from the windows of the train, 
the people returning from their jobs see a lot of wreckage, a lot 
of spraypaint, a lot of trash. Just like from the highway that runs 
on an overpass outside of our space. I'm sure our building looks 
like an abandoned prison. But maybe they don't even think 
twice about it; they're just on their way somewhere else, after 
all. Besides, the real roadside monster spectacle is the bombed 
out brewery a couple of exits back. 

Right about where you would be on the highway where 
you would best see the NO WAR banner hanging from our fire 
escape, there is a spooky clearing in the woods underneath. A 
sign down there says that the whole strip is for sale, but given 
its proximity to the overpass and there being old train tracks 
running through it, oh, and baaad stuff in the groundwater, I 
don't think it's going anywhere. Anyway, the clearing seems like 
a good hiding spot, or tnat's what I thought before I went down 
there this afternoon and found all those fucked up dolls... the old 
kind that look dirty even when brand new. It was a total horror 
movie moment. 

On the other side of Oak Street from the haunted clearing is 
the school bus parking lot, on the same lot as the self-storage 
containers. There are two dozen or so steel trash cans, about the 
size of semi trailers. But instead of trash, they contain people's 
belongings. I guess they're trash-to-be cans. 

Providence, Rhode Island. It seems like a wink and a nudge 
that the city flag bears an anchor and the word "hope," seeing 
that Rhode Island is totally not an island at all. It's not even real- 
ly a peninsula — it's like a shoehorn up Massachusetts' ass 
(which would explain why people there talk the way they do). 
The average income in our neighborhood is 80% of the median 
income in the state, which makes it a pretty poor neighborhood 
since Providence is a pretty poor city in a pretty poorly funded 
state. But there are plans. Blueprints and payoffs and 
Independent Studies. Trie same kind of shit that's probably 
going on in your town. There's a need to obsess over the streets 
as they are, to notice it all and get it all down while it still bears 
a resemblance to the mill neighborhood it has been since it was 
Irish, then all the subsequent shades of poor, but at the same 
time, the shit. 

Up through the middle of the century ( the American Century, 
which is officially over per Henry Luce, so get ready to give it up!) 
Olneyville was a bustling center of activity, but as with all 
industrial economies in this cQuntry, the steam ran out and 
predatory businesses came in. The city was too busy trying to 
revitalize the failed lukewarmth of downtown to notice what 
was going on two miles west... or more fairly, I'm sure they did 
notice, it was just too.. ahem.. dark out. ..to really see that far. 

But hey, 2003 is a different ballgame. It's all good. Things 
are really movin', you know? There's this new development 
going up over on Valley Street. It's gonna' be called Rising Sum 
Mills. ..oh. Rising Sun mills, and it's gonna be just fantastic. 
Armory Revival Properties is a real stand up business. They 
have the foresight to realize that by raising the rent per square 
foot way above not only what it is currently, but above afford- 
able housing standards (as legally defined). 

Well-endowed individuals will move to the neighborhood 
(attracted by its edgy charm, no doubt) and spread their money 
around at tne check cashing places, corner markets, and pawn 
shops. Everyone wins! That should be the name of this new 
development: Everyone Wins. You know, actually that's really 
what we should rename this whole fucking country: Everyone 
Wins. 

You can find me at PO Box 28226, Providence, RI 02908. My 


birthday is March 9th and I'm having a contest to see who can 
send me the most cookies and cakes. I'm vegan and I love 
peanut butter, just in case you're interested. Beer also makes a 
lovely gift. 


I’m gonna take you on 
a blast to the past this 
month, with a bunch of 
' sites featuring old new 
wave and puruc stuff. I’ve 
been reading some George 
Gimarc's Punk Diary and 
Post Punk Diary and it has 
me all nostalgic for the 
songs of yesteryear. Hell, I 
even listened to the Clash 
today! Then, towards the 
end of this month's column. I'm going to turn you onto some 
rock criticism sights. Not totally punk, but youTl probably find 
some stuff in the sites I've dug up that will interest you. Let's get 
to it already... 

We'll start off with the Mod Pop Punk Archives 
(http://punkmodpop.free.fr/) which features late-70s and 
early-80s bands such as the Buzzcocks, the Chords, the Zeros, 
and bunches of bands you've probably never heard of. Included 
are incomplete discographies, bios, mp3 files, and even scans of 
rare picture sleeves. Unless you're only into hardcore, there will 
be something here you'll dig. 

Another nice site for oldies is CollectorScum.com. There is 
a bunch of neat stuff here, including a discography of American 
punk, a cool section of test pressings and the like, a discography 
of Datapanik records, and, oelieve it or not, a listing of punx 8- 
track tapes. There are scans of most of the covers nere, but no 
sound files. Its still totally worthwhile: http://www.collec- 
torscum.com/ . 

A great source to pick up some rare tunes at cheap prices is 
from Hyped To Death. Visit their CD arcnives at 
http://hyped2death.com/ . You can read liner notes, check out 
scans of rare sleeves, and even listen to a few mp3s. And, if you 
find stuff you like, you can order a CD for around ten bucks. 
They have 60 plus CDs out now of bands from all over the 
world. 

Next up is Break My Face, a site that doesn't have as many 
bands as some of the others I've mentioned, but makes up for it 
by giving lots of information on the bands that they do feature. 
Included here is information about Dangerhouse records, stuff 
on the Vomit Pigs, Urinals, Black Flag, the Rotters, and some 30 
or so others. Each section has several paragraphs about each 
band, scans of the picture sleeves of some of their records, and 
more. YouTl find Break My Face at http://www .breakmy 
face.com/ . 

For a nice archive of punk and new wave bootlegs, look no 
further than Marko's site at http://www.lwtua.free- 
online.co.uk/O.htm (that's a zero at the end). A lot of this is new 
wave dreck, but there is also some classic 77-era punk. Each 
bootleg listing includes a cover scan, a track listing, and where 
it was recorded, but there are no song samples. Bummer. 

Speaking of new wave, there is a page of classic new wave 
photos available http://www.newwavephotos.com/ . This is 
the archive of rock photographer Philippe Carly and there are 
some really nice shots here. Be warned, though — the Buzzcocks 
are about as punk as this site gets. Poke around and you'll also 
find an archive of concert tickets and backstage passes. 

Another photographic archive is Rockometer 
(http://www.rockometer.com/) which includes shots of the 
Damned, Stiff Little Fingers, the Buzzcocks, and X, among oth- 
ers. The photos are not from way back in the day, but are from 
late-80s through late-90s shows that the bands played. Great 
photo work here. 

I've always like rock criticism, even if what I sometimes like 
about it is that I hate what critics have to say. I just find reading 
others opinion about music to be refreshing, especially if it is of 
a more philosophical nature (rather than a simple record 
review). While most critics are probably bloated windbags who 
couldn't hold down a real job, I still like reading a well-written 
piece of rock journalism. With that in mind, I went searching for 
sites that deal with writing about rock music. 

The first (and most obvious) site I found was Rock 


NetPunk 





Critics.com (http://www.rockcritics.com/). RockCritics. com 
features both exclusive content written by rock journalists, as 
well as archives of older rock writing. In addition, there is a fun 
'top 5' list section, and information on how you can contribute 
to the site. 

The other decent site for music journalist types is at 
http://www.musicjournalist.com/ . This is the homepage of the 
Association of Music Writers and Photographers. Of course, the 
idea that this group exists is kinda icky, but some of the articles 
here are interesting and/or thought provoking. 

If you don't give a shit about professional critics, then why 
not be one yourself? The Rate Your Music website at 
http://rateyourmusic.com/ is an interesting idea. It is a data- 
base of albums where you give them one to five stars and leave 
reviews of each album. You can add albums to the site, and you 
can look up what other people think of certain music. It's like 
having a dozen friends tell you whether or not a record sucks. 
The punk content is weak, out that's only because we haven't 
discovered it yet. 

That's gonna wrap things up for this month. Hope you 
enjoyed the blast from the past. A reminder that you can find all 
of my columns in the netpunk section of http://www.diehip- 
piedie.com/ and that you should be sending me your websites 
for mention and review to netpunk@diehippiedie.com. See ya. 

Patriarchy Tried to 
Steal My Guitar 

If you somehow missed 
my last column, I was pissed 
that I usually don't see as 
many girls on stage as boys. I 
also wondered why tnere 
aren't more women and girls 
in punk bands today. 

I didn't have many 
answers, other than looking at 
how average American punk bands form these days. Most peo- 
ple I know started getting into punk bands in high school, learn- 
ing to play their instruments with a few good friends who 
equally sucked, but who were into playing punk songs and 
hanging out together. Thinking of the nigh school years, I men- 
tioned in my column that guys sometimes have an advantage, in 
that they are encouraged more to be in bands, and have more 
friends who are in bands to jam with and borrow gear from. 
Parents are also more restrictive of teenage girls, and it's a time 
when gender roles come harshly into our lives. 

I had started, very briefly, to connect the dots between play- 
ing guitar, and life growing up being defined as a "girl." 

Distortion follows me everywhere, and I try to hang onto 
the power chords. 

Since handing over my column to the MRR Column Gods 
last month, I've been thinking more about this issue, trying to 
get a better sense of it. Last month I was left with more questions 
than answers, and felt like I'd just scratched the surface. Gender 
roles, girls and boys, punk rock, shows, playing guitar, scream- 
ing, hands, sexism, all these things stewed in my mind and 
began to coalesce into something dark and familiar. I thought 
again of an experience not quite yet forgotten, not quite buried, 

f rowing up girl, becoming assimilated as "female/ and all the 
aggage and scars that come along for the ride. I also pieced 
together these inklings with the thoughts and experiences of 
other women, checked in with our shared history, and things 
began to take on a clearer shape. 

Fuck, does everything have root causes? What million 
things in society shape who we are today? Even when we think 
we've rejected it? 

It would be easy if I could just write the whole thing off. At 
the Juice Bar in Orleans, MA, I asked a young girl at the show 
why she thought more girls weren't in punk bands. She replied, 
"Girls are pussies." 

Hear the hum and crackle of a loose connection about to 
catch fire. 

Later that night, I talked about this sexist attitude on stage 
(without pointing her out specifically) and said at the top of my 
lungs, "I think that's flicking bullshit." 

At the time I was offended, mostly just shocked. It definite- 
ly wasn't in the realm of what I expected her to say. I wish now, 
that I had talked more about it with her instead of stewing in my 


own thoughts, and had given her a better explanation of why it 
pissed me off. Her answer was honest and revealing, and since 
then I've thought a lot about that comment, and how it fits in 
with everything else about girls and guitars. 

We have to ask ourselVes, how deeply have our minds been 
colonized? 

Trying to get more opinions than my own, I talked to both 
kids and older punks at shows in Boston and Baltimore, on Cape 
Cod, downtown DC, and in a pizza shop in Manassas since I last 
tried to hammer out a few words on the subject of girls in bands 
last month. Thanks to everyone who shared cheap beers and 
thoughts with me, especially Gretchen, Amy, James Vertigo, 
Adam, Scott of THE OVERPRIVILEGED (who gave us amazing 
hot vegan death chili and made our southern venture possible), 
and the girls who danced at the show in Manassas. On the long 
stretch of highway from Virginia back to Boston, and the thou- 
sand miles we drove that weekend, I curled up in the back of the 
PROFITS van with an amazing book that I just discovered. Listen 
Up: voices from the nexi feminist generation. I know, the title 
sounds cheesy as hell, but, in my critical opinion, it completely 
rules. When I first spied the book in a molding pile in Discovery, 
the best used bookstore in the world, and read a few random 
pages, I started laughing out loud. The writing is so right on 
without apology. The girls and women who share their stories 
and personal insights in Listen Up helped feed my head this 
month, and I'll quote a few passages here. 

I'm still pissed, but I'm also curious. I'm not surprised that 
aspects of sexism happen in punk rock, and that's not really my 
main point for this article. I'm also not out to man-bash, as if you 
need a reminder. What is interesting to me is how profoundly 
we all have been conditioned to think — from our earliest child- 
hoods — about gender and our identity in society Patriarchy, the 
artificial imbalance of power between men and women, affects 
us all in negative ways that we are often unaware of, even in 
punk fucking rock. 

Let me begin with "women are pussies" and how it relates 
to one aspect of the present ratio of only about one SPITBOY all- 
girl band for about every twenty RAMONES all-boy bands out 
tnere. 

All too often, young women are encouraged to hate each 
other, and themselves. It's a fucked up, but predictable, 
response to the gender hierarchy that is constantly being shoved 
down our throats. The repeated message is that women are infe- 
rior, need approval from men, and are in constant competition 
with other women. Think of Molly Ringwald in The Breakfast 
Club. Molly's character played the gender game, and with her 
money, good looks, ana tight sweaters, earned a space in the 
popular high school click. She had the approval of the "in" 
crowd. If you haven't seen this 80s classic, Molly's character is 
forced to look at her falseness by the metal dude, and she falls 
for him in the end. She symbolizes her subtle break with the sys- 
tem by giving metal dude one of her diamond earrings, sepa- 
rating her perfect set. Yes, I've seen this rockin' movie too many 
times, and I digress. 

Girls, like boys, are told from a young age that competition 
matters, but in different ways. Men have the Super Bowl, and 
women have Miss America. Both events promote extreme 
stereotypes of gender, honoring beefy men and skinny women, 
but there are worlds of difference. Teams go to the Super Bowl, 
while individual women fight it out to wear the Miss America 
crown. While the very nature of a team is to work together, and 
to score the most points, at a beauty pageant beauty stars are on 
their own and it all depends on a judge's whim. The men com- 
pete against the other team and the clock, and the women com- 
pete for a (traditionally male) judge's approval. 

In her book Feminism is for Everybody , bell hooks pointed 
out, "Male bonding was an accepted and affirmed aspect of 
patriarchal culture. It was simply assumed that men in groups 
would stick together, support one another, be team players, 
place the good of the group over individual gain and recogni- 
tion. Female bonding was not possible within patriarchy; it was 
an act of treason." 

Take a more modern Hollywood example, Joe Millionaire. 
Twenty women competed against each other to win the 
approval of some schmuck Fox said had millions of dollars, who 
is actually an out-of-work second-rate model. I couldn't help but 
watch as a woman who was not given a pearl necklace and 
"asked to continue" cried into the camera. It was sad. It was sad 
because the woman who didn't get picked by schmuck boy was 



RaNSoM 

Note# 


so distressed, and wondered aloud, "What's wrong with me? 
Why didn't he pick me?" She just didn't get it. She was judging 
her self-worth compared to other women — as superficially 
judged by some schmucky guy— and when I see that scenario 
on real life" television, I wonder what the hell is wrong with 
this place I'm living in. 

Women are more than the sum of hair, tits, lack of body fat, 
and ass. But sexism sells, and the media conglomerates make 
billions in advertising dollars, and the cosmetic, fashion, and 
diet industries make billions from selling worthless crap to 
women. Capitalism tells us what we want, how we should look, 
creates needs and faults, and sells everything back to us in a 
lastic bag. Capitalism works hand in hand with patriarchy to 
ombard girls and women with toxic Barbie images of who we 
should be, pummeling our individuality and self worth in a 
shower of acid pink propaganda that tells us we aren't good 
enough. 

Christine Doza wrote in "Bloodlove" in Listen Up about the 
mire of worthless magazines targeted at young women like 
Glamour and Sassy , "I don't need to be told what band is the 
cutest, what hairstyle is the most fashionable, what brand of 
clothes is the coolest. I need to know that every minute of every 
day I am being colonized, manipulated, and ignored, and that 
minute by minute I am doing this to others who are not shining 
white and middle class. There is a system of abuse here. I need 
to know what part I'm playing in it." 

When women are pitted against each other, we lose sight of 
what is really going on. It's one way in which the patriarchy pro- 
tects itself. We can't challenge the whole fucking system of 
abuse when we are too busy tearing each other down and hat- 
ing ourselves. 

The poet Sapphire in Angry Women stated, "Deep self- 
hatred keeps a lot of people's energy and creativity sapped. The 
very forces that could be harnessed to fight fascism and imperi- 
alism are being drained off into 'fitting in' and 'being accepted." 

But most punk girls already know this, and have already 
broken free of more mainstream society's gender boxes. To do 
so, however, meant standing out, and being targeted for not 
going along with the gender rules. 

Sharon Lennon wrote in "What is Mine" in Listen Up , 
"Alienation is a key ingredient to keeping girls and women per- 
forming according to plan. It's the backup system just in case the 
initial instructions on being female don't sink in." Basically, 
there are consequences to not following the rules. Standing up 
for your individuality, and breaking tree of stereotypes, isn i 
always easy, and sexist pricks — both boys and girls — try to put 
people back into gender cages. 

I remember one horrible show in Boston some five years 
ago, a low point for our entire scene. It was summer, and hot as 
hell. Lots of people turned out for the show, and the Greek 
American Club was fairly packed with a couple hundred punks. 
It had been almost all-boys on stage for hours, and the only 
redeeming quality was that it was DISASTER STRIKES's first 
show if I remember right. The headlining band for the day was 
an all-woman hardcore punk band from NYC, and they were 
good. As I mentioned, it was hot as hell, and lots of the guys in 
the audience had taken off their shirts. After a few songs, the 
girls in the band took off their shirts, too. It was no big deal, as 
they were all wearing bras, clothing larger than most bikini tops. 

The crowd retaliated. Boys started chanting, "Take it off! 
Take it off!" and a couple of guys simulated butt fucking in the 
pit. Girls joined in ana yelled, 'Put it back on! You whores!" It 
was bizarre, and very serious, and outright hostile. The band 
was attacked from both sides, but they kept on playing. All I 
could do was channel my anger and fuck shit up in the previ- 
ously all-boy pit. 

IronicalW, the show was a benefit for the beginnings of a 
Boston Riot Grrrl chapter. Fucked up shit, my friends. 

Emma Goldman, the illustrious anarchist, stated in The 
Tragedy of Women's Emancipation , "The right to vote, or equal 
civil rights, may be good demands, but true emancipation 
begins neither at the polls nor in the courts. It begins in woman's 
soul." 

The first battle for freedom, on all levels, occurs in our 
minds. 

Girls and women have to learn to undo what has been 
stuffed into our heads. Self-hatred makes everything harder. 
Self-doubt destroys confidence, and that makes getting on stage 
and speaking your mind even more of a challenge. Add to that 


the threats of harassment and lack of support, and many girls 
don't even bother trying to start a band. 

But many girls and women do find a way through the bull- 
shit, and come out stronger on the other side. They tell the 
media images to go fuck themselves. 

An early Bitch Crew manifesto stated, "Be a woman, be a 
girl, be whatever the fuck you want to be. Just do me the favor 
and kill yourself before you pour yourself into a mold of com- 
merc^a^images soaked in Palmolive packaged in a douche bag." 

There are thousands of pissed off, confident, strong punk 
girls waiting to start an army to change the world. But still, why 
aren't more women in bands? 

Let's return to the noisy beginnings of most punk bands, in 
the hundreds of dark basements all across the country, and look 
again for possible answers. 

A, a friend and personal heroine of mine, told me about her 
best friends growing up, who all happened to be guys. By high 
school, the gang of friends had all started a band, all of them but 
A. She wasn't invited to practice or jam with them, as A was told 
it was a ''guy thing." The same scenario happened to me in high 
school. My good guy friends had a couple of bands together, 
and they would jam all the time and make up absurd funny 
songs. I was never asked if I wanted to hang out and play, or 
sine, it was just unspoken that it was a "guy thing" and I would 
make them feel uncomfortable. At the time, I felt left out but 
didn't want to impose. The closest they came to letting me jam 
with them was playing a dust-buster on a home four- track 
recording. 

In both cases, it was understood that it was natural for all 
the guys to hang out together in the band, and just plain weird 
for a girl to tag along. 

Well, foo on all of them! 

Those guys couldn't see past the gender roles. Not all guys 
are dicks, however, and I salute those men and boys who see 
past gender to treat all their friends — not just the ones with 
dicks— with the respect they deserve. My first band, the illustri- 
ous FUCK TUBES, was with two women and a man. In my band 
now with three guys, gender isn't a problem. I also know of a 
ton of bands, as I'm sure you do, where girls and boys play 
together and rock the house. Boston's FALLEN SHORT and 
AND I CAN'T WAIT..., along with classic NAKED AGGRES- 
SION come immediately to mind. 

Also, sexism is not just a woman's issue. Men need to be 
talking about how they fit in with patriarchy, and how it nega- 
tively affects their lives, as well. I am always so happy to hear 
LEON CZOLGOSZ, an all-guy band, play their song, "Pro-Life 
is Terrorism." It rocks my world. Men gain the most from sex- 
ism, but they also suffer from stereotypes, harassment and gen- 
der expectations t6o. In the larger picture, sexism is part of a 
larger system of oppression that we all live in, with a few bil- 
lionaires at the top of the heap looking down on everyone else. 
As my black clad friends say while taking over Newberry Street, 
"NO WAR BUT THE CLASS WAR." 

I encourage all the girls and women out there reading this 
humble piece of newsprint — start a band if you want to! Don't 
let anyone tell you that you're somehow not good enough. 
Playing punk rock is easy. It just takes a lot of time in dirty base- 
ments to get the tip of your fingers numb to the wires, and a few 
real friends who appreciate you for who you are. If the people 
around you aren't supportive, and you can't find other women 
or men to start a bana with, put up fliers, get on the web, and 
keep asking around until you find them. Borrow, buy, beg, use 
credit cards, or steal equipment if you have to. Don't wait until 
you have enough money for a "good" guitar, any piece of crap 
will do. You also don't need a full drum set, or even a PA to get 
started practicing, having fun and making songs. Make some- 
one let you play in their basement, or toss your bedroom furni- 
ture out the window to make room for the drums. If you want 
to start a band, don't wait until you're "good," don't wait to take 
boring lessons and get a "technique," just start screaming and 
making noise, and the rest will Follow later. Above all, don't let 
patriarchy steal your voice or your guitar! 

I can't resist ending this column with the chorus of one of 
my favorite songs ever, by the SPIDER CUNTS from NYC: 

"You'll get yours, what goes around comes around. You try 
to create a world for me full of fear and hate, but I won't take the 
bait. You can scar my skin, but you can never scar what comes 
from within. Try to intimidate me, make me afraid to speak my 


mind, what doesn't kill me makes me stronger, and I'm not the 
only one of my kind. I'm not the only one of my kind!" 

HA! Gender liberation includes all or us. 

Rock on, and in solidarity, Erika 
ransom@plaguedomes.com 
Resources: 

Listen Up: voices from the next feminist generation, Barbara Findlen, 
Editor, beal Press (www.sealpress.com) 

Feminism is for Everybody, bell hooks. South End Press 
(www.southendpress.org) 

You can see my past columns at www.theprofits.org/ransom- 
notes.htm 


Oakland, CA. (AP) 

An important 
development in the War 
On Terror occurred yes- 
terday when a convert- 
ed warehouse located in 
an impoverished area of 
East Oakland was 

quarantined due to an 
outbreak of malaria in 
which large numbers of 
residents were hospital- 
ized and arrested, 

according to a press 
conference organized 
by the Office Of Homeland Security. 

The warehouse in question sheltered and employed numer- 
ous individuals associated with the so-called 'punk" move- 
ment which began as a primarily musical force in the mid-1970s 
in New York, London, and Los Angeles and has steadily politi- 
cized itself to an increasingly far leftist /terrorist slant, accord- 
ing to the Office Of Homeland Security. The space in East 
Oakland is reputed to have housed a crude laboratory where 
potent biological weapons were being developed. 

"As soon as we broke down the metal door, one of our 
agents nearly stumbled and fell into an open bio-weapon retain- 
ing tank," Biff Whitey of the FBI asserted in his statement, "It's 
a good thing we were fully outfitted in decontamination suits. 
One of the suspected terrorists approached us yelling something 
obviously in code to the other residents: "You coulda fuckin' 
knocked! I know my rights!' I believe it was, and we appre- 
hended him with massive force in order to keep him from set- 
ting off any further alarms." 

According to the Office Of H.S., the holding tank was clev- 
erly disguised as a kiddie pool filled with half-full beer cans, but 
when one of the agents nudged it with his foot several thousand 
superpotent malaria-laden mosquitoes swarmed out of the tank 
and immediately dispersed around the 20-room warehouse, bit- 
ing nearly all of the residents within minutes of their release. 
"It's a damned good thing that our agents were fully outfitted 
for such contingencies," agent Whitey continued in the briefing, 
"Imagine if they dropped this tank into a crowded subway dur- 
ing rush hour, or left it in front of the federal building, or an ele- 
mentary school. Since the release of the biological agent was in 
the confines of the largely windowless warehouse, it was con- 
centrated on the population there and thus will not come to 
effect the bulk of the community. The rest of the block, of course, 
had to be quarantined and the residents arrested, as a quick 
search of the block found numerous Malarial and Botulism incu- 
bators, many smaller than the so-called 'kiddie pool' but no less 
potent. We feel that neighbors, while not necessarily directly 
associated with the warehouse, were at the very least sympa- 
thizers and possibly traded weapons and chemicals with them." 

"As these individuals are considered to be highly danger- 
ous terror suspects and seem to harbor a serious disregard for 
the federal government and its policies, we are taking them into 
custody where we will hold them indefinitely until we decide 
what information they know and what we decide to charge 
them with. We do not know for sure at this time whether they 
are linked with A1 Qaeda, but we plan to pursue any leads in 
that direction that may materialize and will probably hold the 
suspects until these leads become evident." 

From the first house on the next block over, Winda Smith of 
Oakland watched the police action. "They dragged them all out 
of they houses and threw 'em in cop cars ana ambulances. I 



don't know what the fuck is going on. They was grabbing all the 
empty beer cans and full garbage bags and putting them in 
these big-ass yellow containers that said 'Biohazard' all over 
'em. We ain't had trash pickup here for over a month since the 
landlord who owns the whole square mile stopped paying for it 
and we still can't get the city to do anything about him. Now the 

g olice are talking about burning down the whole damn neigh- 
orhood. It's them punk rock kids, fucking it up for everybody. 
They always bring the police in now." 

Reportedly, over half of the former residents of the ware- 
house have died from malaria in the hospital. Agent Whitey: 
"It's unfortunate, because we could have gotten a lot of infor- 
mation out of them. We now believe some of the ones who died 
were the ringleaders, since the remaining terror suspects claim 
to have no knowledge of any bioterror programs. Make no mis- 
take, however: These are vicious killers and proponents of ter- 
ror, as evidenced by their attitude and the vehement anti- 
authoritarian propaganda that was found in abundance in their 
'Cave/ as it were, the dissemination of which was of course the 
reason for the raid in the first place. You are either for us or 
against us, and these folks were definitely against us and against 
you, so you should be grateful that they are no longer going to 
be a problem. We are investigating other affiliated terror net- 
works in cities around the world as we speak, and you may find 
out more about those investigations in due time, or maybe not. 
National security must be maintained, you know." 

"Jimmy Scumfukk," one of the residents of the warehouse, 
was overheard on a live television feed at the scene yelling as he 
was dragged roughly to a paddy wagon/ambulance, "All we 
were trying to do was recycle, dude!" 

The Office Of Homeland Security has made a statement 
that this outburst was obviously a coded threat meant to be 
heard by other cell members, and promptly raised the national 
security alert to the highest level as a result. Residents are 
advised to stay in their homes, keep tuned in to their televisions, 
and to watch what they say and do. 

— Johnny King Dirt, PO Box 3026, Oakland, CA 94609. 
Johngeek@hotmail.com 



Last month, I talked about 
image and the various ways 
that corporations can use it to 
their benefit. This month, as 
promised, we'll take a look at 
the most common tool they use 
to defend said image: trade- 
marks (I just know you've been 
waiting all month for this one). 

My dictionary tells us 
that a trademark is a "word, 
symbol, or device registered and protected by law, used by a 
merchant or manufacturer to distinguish his goods" (I'd like to 
note that, according to the Scribner-Bantam folks, girls can't be 
merchants or manufacturers). I mentioned last month about 
how a great number of multinationals are selling more image 
than product these days, which are commonly referred to as 
"brands." In truth, what these companies are selling is their 
trademark. This is a logo, name, or phrase (or, most likely, all of 
the above) which is % used for product association and, thereby, as 
a money maker. 

In a certain regard, trademarks (and their cousins, the copy- 
rights) don't make any sense. "Words, symbols, and devices" 
are human constructs, coming from sounds, images, and things. 
For example, the sounds "nigh" and "key," when put together, 
create a trademark of the Nike Corp. Same for the sounds 
"juhst," "dew," and "ehht." Both of these sound combinations 
are trademarks, bizarre, for they are perfectly legal to say and 
write, but not in every situation. Simply put, trademarks can 
take common elements of human language and art, and turn 
them into things that could land you in court if you should use 
them in the wrong way. 

While trademarks can almost seem wrong in a primitive 
sense, it's pretty easy to see why we have them in our society. 
Products /names /images do need a certain amount of protection 
in this and age, to prevent both consumer confusion and profit- 
ing-by-association. For instance, you could safely bet that if 
Hearst Publishing began publishing a new magazine for the 
international, Top 40 youth and called it Maximum Rocknroll, 


somebody down at headquarters would start lookin' to take 
some legal action (although they've remained on relatively 
peaceful terms with the Mississippi River Riders thus far, so 
who knows?). And rightfully so. If someone turns a major prof- 
it through the outright theft of someone else's ideas, that's bad. 
But if they can do it by actually using the earned recognition of 
someone or something and turning the reason for it's recogni- 
tion on its head, that^s worse. Can you imagine, despite their 
past exclamations of trademark/copyright hatred, if PROPA- 
GANDHI songs started popping up in ads for the American 
Beef Council? What if Chevrolet started using clips of Ralph 
Nader for their ads? GORILLA BISCUITS and Absolut Vodka? 
Critical Mass and Exxon Mobil? Apple Computers and Gandhi? 
Levi's Jeans and the DEAD KENNEDYS? Trademarks can help 
defend oneself against appearing to support those things that, in 
reality, they oppose or resist (but not all the time, as the last two 
examples have already occurred). 

But iust because trademarks have a rightful place in our 
society doesn't mean that all is well with them. Corporations 
have systematically used trademarks, and the laws intending to 
uphold them, for their own financial game, something that 
probably shouldn't come as much of a surprise since they pret- 
ty much use every weapon imaginable for said purpose. 

We have gotten to the point where corporations and their 
brands have taken over our culture. Like many other things in 
our culture that we have decided to fight against, people have 
both the urge and the inherent right to speak back to these 
brands. But through these various trademark and copyright 
protections, corporations have been largely successful at stifling 
any real threat to their images, even if the image they display is 
little more than an elaborate hoax. As Naomi Klein (whose book. 
No Logo , I recommended to you last month) explains: 
"[Trademark laws are] easily abused statutes that form an air- 
tight protective seal around the brand, allowing it to brand us, 
but prohibiting us from so much as scuffing it. 

But it doesn't just amount to corporations trying to fight off 
the backlash against their presence in every nook and cranny of 
our social conscience. Multinationals have thousands of past 
(and present) cases of "trademark protection" that range from 
the frivolous to the absurd. Some of the examples that Klein 
gives in her book are McDonald's constant attacks on small 
business owners of Scottish descent, Mattel's rapid attacks of 
anyone who dares to mess with Barbie, and The Lyons Group's 
threats to sue any parent that dresses up as their trademark-pro- 
tected purple dinosaur at their children's birthday parties. Bill 
Wyman, a music columnist for the Atlanta Journal-Constitution, 
just received word a few months ago from a law firm in New 
York that he can no longer use his own given name because of 
its uncanny resemblance to Bill Wyman, a former bass player for 
the Rolling Stones (the most interesting aspect of which is that 
the Stones Wyman is the one who wasn't born with the name.) 

In one of the more fascinating developments yet, the US 
Supreme Court has just taken on a strange case of unusual 
importance. In Moseley v. V Secret Catalogue, the court must draw 
up real lines in the sand where trademarks end and the rest of 
life begins. Victor Moseley and his wife owned and operated an 
adult store in Kentucky called Victor's Secret. They received a 
cease-and-desist letter from the fine folks at Victoria's Secret, 
claiming they would be sued for "trademark dilution" if they 
didn't change the name of their store. Kindly (considering how 
pissed I would been had it happened to me and my adult store), 
Moseley obliged and change his store's name to "Victor's Little 
Secret. However, this was not a big enough change for Victoria 
and crew, so they sued anyway and had two lower courts rule 
in their favor. In this final appeal, it must be decided what con- 
stitutes "trademark dilution, and what means an accuser must 
do to prove that it has occurred. 

This case and the law being questioned in it, even though 
it's seemingly a 'business vs. bigger business' ordeal, is of no 
small significance to anti-corporate activists. When the laws pro- 
tecting the symbols, phrases, and names of typically deceptive 
and oppressive brands and companies become too strong, we 
will stand to risk further punishment for doing what's right and 
fighting back against the images that form our sad "reality." 
Thankfully, "fighting back" isnt something governable by law. 

End stuff. 

1 . The day after I wrote last month's column, in which I gave an 
overview of how image and reality differ in the case of the Royal 


Dutch Shell Co., I was flipping through a Lego catalogue (don't 
ask) and saw that you can now buy a hefty Lego set that forms 
a idyllic Shell gas station. What's next? 

2. Write me: Nathan Berg, c/o Rainbow Bookstore Cooperative, 
426 W. Gilman St. Madison, WI 53703. Send me zines (or root 
beer). 


THE WIG 

It was one of those 
cold April days where 
your breath still hung in 
the air after you finished 
talking. The sun, along 
with our winter jackets, 
kept us warm on our walk 
along 34th Street until we 
reached Macy's. As we % 
entered the place, I could" 
feel that stuffy, uncomfort- 
able warmth that always seems to hug big department stores in 
the city during the winter. With me was my stepdad, Nick, and 
my mom, Barbara. She had only a few months to live because of 
the fast progression of the lung cancer she was diagnosed with 
some months earlier. She had finished many rounds of Chemo, 
and was now ending her radiation treatments at Sloan- 
Kettering. 

The reason we had ventured to Macy's that day was, well, 
odd. We had gone there to buy her a wig. The cancer had spread 
from her lungs throughout her entire body, and was now in her 
head. Her brain. This is called metastasis. Nice word for an ugly 
thing. Actually, there are lots of nice words that are used with 
cancer. To soften the blow. Wonderful. 

As we walked through the ground floor of Macy's toward 
the rear elevators, I could smell all the perfumes and after 
shaves. But somehow, they didn't linger in my nose like they 
usually did. All I could smell was the stuffy uncomfortableness 
of the place. 

We got off the elevator at the third or fourth floor and fol- 
lowed the signs to the wig department. It was just a couple of 
enclosed glass cabinets adjacent to each other, tucked away in a 
far corner of Macy's. 

Behind one of the counters stood an older gentleman, and 
behind him, various wigs placed stylishly upon Styrofoam 
heads that were faceless and eyeless. 

The man's smile was warm as he greeted us. Nick and I 
smiled back, but my mother didn't. There was a woman trying 
on wies in front of a table top mirror, and when she saw us, she 
turned and smiled. We smiled back to her as we watched her 
adjust the wig on her head, with the price tag hanging off the 
back and all. My mom, again, didn't smile. 

"It's all right, sweetie," said the woman to my mom, 
"everything is gonna be all right." My mom, with a scarf cover- 
ing her quickly balding head, just nodded. 

"You'll get used to it," she added, "really, you will." 

I lookeaat Nick, and he looked at me. Ana we both smiled. 
But they weren't real smiles. They were smiles of fear and des- 
peration. We didn't know what else to do. 

"Which one should I get?" my mom asked Nick and I. We 
had trouble understanding what she said at first because her 
tongue was swollen from all the Chemo and radiation and stuff. 

We looked at the wall of faceless heads for a long time not 
saying anything. The reason my mom had wanted a wig was 
because I had planned a trip to Cancun with my brothers, 
Wendy, Nick that was to take place in a couple of weeks. I fig- 
ured it would be our last chance to all be together, and of course, 
I was right. I fucking hate being right. 

Nicfic and I and my mom looked at the wigs, and to tell you 
the truth, I had no fucking clue which one she should get. There 
were black straight ones. There were blonde curly ones. They 
even had a punk rock colored one. Somehow, I didn't think my 
mom wanted that one. 

"Nice wigs, huh?" said the woman in front of the table top 
mirror, "I already have a couple, this is going to be my third!" 

Nick and I just looked at her and smiled. My mom seemed 
off in a daze. 

"It's really not that bad," explained the woman, "in fact, 
your mother can have the hair she has always wanted." 

We nodded our heads, and I was surprised Nick didn't 



make any bad jokes. I guess it just wasn't one of those days. 

We continued to look at all the wigs, lost in our frustration 
over this insane situation. A situation we thought we'd never 
find ourselves in. Ever. 

"Why don't you describe the kind of hair your mother used 
to have?"said the woman to me. And to Nick. 

Nick and I began to describe it to her as my mom stood 
there, listening. We explained that her hair was brownish- 
blonde and very, very beautiful. As Nick started to explain the 
texture and feel of it, I could see his emotions tearing him apart. 
He knew he'd never feel or smell the real stuff again. I felt tears 
welling up in my eyes, and saw them in Nick's. 

It was then I think my mom somehow snapped out of that 
cancer-morphine haze and told Nick and I to go shopping, and 
to leave her alone at the wig counter. She told Nick to take me to 
the electronic games department and buy me whatever I want- 
ed. She told us to come back in a little while, and she'd be fine. 

Nick and I walked away from my mom, the woman with 
the wigs, and the guy behind the counter, feeling very uncom- 
fortable. We did not want to leave her alone, so we didn't. We 
just went around the corner, and peeked over at her ever few 
seconds. 

I watched my mom try on all sorts of wigs. As she would 
try each one on, she'd look in the mirror and brush the hair as if 
it were her own. The man behind the counter smiled warmly at 
her as she brushed the various wigs she was trying on. I could 
see in the way that she brushed and stroked the hair that she 
missed her own, and was feeling what it was like to have a full 
head of hair again. I quickly wiped a tear from my cheek, hop- 
ing Nick didnT see it. 

Finally my mom put on a wig and wore it for more than a 
few minutes, She just kept staring at herself in the table-top mir- 
ror, and brushing and caressing the hair. The man behind the 
counter just smiled, and the woman who was trying on other 
wigs was telling my mom she looked great in it. 

Nick and I walked back to the wig department and to my 
mom. When she saw us, she smiled A warm smile. A smile I'll 
carry with me forever. On her head was a wig that looked exact- 
ly like her hair. Only it was shorter than she nad worn it recent- 
ly. It was the kind of hairstyle she had worn about twenty years 
earlier. And it made her look younger. Like the mom I remem- 
ber when she pushed me on the swing set. Or when I sat in her 
lap. Or when sne bathed me. The same hair. The same mom. She 
was beautiful. Like a mother. She was beautiful. Like a woman. 

I felt a lump begin to rise in the back of mv throat, and 
looked at my mom. She looked at me, and suddenly I wanted to 
be in her arms. To be hugging her, cradled in her warmth. Safe 
from the world. I wanted to be home again. The lump in my 
throat got bigger. My mom looked me in the eyes, then put her 
finger to her lip. And I knew all was said that had to be. 

I'll never forget my mom and that wig, that cold winter day 
at Macy's. That day my mom had stood up in the face of all that 
was wrong, and nad reminded Nick and I about pride and 
courage. Sne had tried on wigs, majestically, and somehow, with 
synthetic material on her head, had shown us the true meaning 
of beauty. She took away our uneasiness and fears with just the 
smallest of a smile, and let us know that life was worth living. 

Take My Life, Please. 

Endnotes: 

1. Looks like Roach Motel is doing some reunion gigs in Florida. 
Go to www.georgetabb.com for details. 

2. Dean Dean and The Sex Machines, The Kick, Worse & The 
Shemps rule. 

3.9incnes@georgetabb.com 


I Believe in Myself 
The TEMPLARS— 
reigning skinhead band 
in the entire world, came 
to Southern California to 
play for the first time in 
Orange County and Los 
Angeles County. The first 
night the show was in 
the Showcase Theater in 
Corona, California, and 
this all-ages venue was 
full of skins and punks of 


all descriptions, ready to hear the TEMPLARS play their hits! 

PRESSURE POINT, from Sacramento, and the REDUCERS 
SF, from San Francisco, played brilliant opening sets. Then the 
TEMPLARS took the stage. The air was positively electric with 
skinhead excitement! The band delivered a crack set of skin- 
head /Oi! tunes. Excellent! There was not one fight!! The second 
night was at the Martini Lounge, in Hollywood. This venue 
served alcohol, much to the great pleasure of the skins. We had 
another night of top quality music with no trouble! Again, not 
one fight! Great! The sets of music were similar the two nights 
with several substitutions /additions each night. Songs the 
TEMPLARS played included: "Templars;" "Skins and Punks;" 
"Four Walls, "Video Age;" "New York;" "Gun Runner;" "War 
in the Streets;" "Skinhead Rules OK;" "Never Fade Away;" 
"Bovver Boy;" "I Believe in Myself;" "The Glory that Was;" 
"Revenge;" "Terror Tactic;" "Police Informer;" "Night of the 
Seagull;" the amazing song, "Breakdown" from Horns of Hattin ; 
and three excellent covers: "Career Opportunities" by THE 
CLASH; "Case of Pride" by SKREWDRIVER; and " Violence In 
Our Minds" by the LAST RESORT. These were a great pair of 
shows musically! These shows go far to demonstrate a positive 
example of coherent behavior in the skinhead scene. Hopefully 
we will see more intelligent interaction so that we can have 
more shows in more venues in many cities. Thanks go out to 
PRESSURE POINT, the REDUCERS SF and the TEMPLARS. 

Haunted Town Records from Chicago has an excellent new 
split six-song CD available for you punks and skins! DEAD 
LINE, from England, start the CD rolling, and BRASSKNUCK- 
LE BOYS, from the USA, finish it off. 

DEAD LINE come out cranking with a cover of "Another 
Day in Paradise" by ON FILE. This has great male /female 
trade-off vocal duties. Then Liz and DEAD LINE slam into 
"Hate Song." Read these words: "Pressure is on me/ I can't 
breathe/ I can't see/ Your fucking ignorance is beyond me/ Try 
to take control of feelings lost/ I can't see any hope/ My rage 
runs deep/ When it's all over/ You'll realize your fate/ You 11 
open up to life instead of your own hate/ You're two-faced/ I 
hate you both/ Cos you talk shit/ And soon you'll see/ What 
ou say and what you do will bring you down/ You can run and 
ide from me/ But you won't run for long/ You see your atti- 
tude is pissing me off/ Shut your mouth. Good shit! Next up 
you get DEAD LINE singing "I'll Run Away" — excellent! 

Song four is brought to you by BRASSKNUCKLE BOYS. 
"Vultures" is good Oi! The "Ballad of Lucas Wells" mourns a 
friend who died young. Damn good guitar parts push this song 
alone. Song number six is a cover of Tom Petty's "American 
Girl. This is a strong cover! 

For Haunted Town product write to: Haunted Town 
Records, 1658 N. Milwaukee Ave. #169, Chicago, IL 60647, USA; 
www.hauntedtownrecords.com. 

Ethan and Reality Clash Records from Dana Point, 
California, have a new split CD available for you! The new prod- 
uct is a split between TERMINUS CITY and NO HOLDS 
BARRED, and it's called Stand As One. NO HOLDS BARRED 
start the melee with the title cut, "Stand As One," and this track 
kicks ass! Next up is "The Price," about skinhead persecution — 
great! Next up you get "Just a Kid" — a kind of country-flavored 
number about a mother worried over her child. "American 
Rights" bemoans all the youth raised with a silver spoon in their 
mouths — not willing to endure the bruises and hardships of 
growing up. The next song is a really good rocker! "Blaze of 
Glory," is about living fast and hard, ana dying young. It's akin 
to Mr. Lemmy Kilminster singing: "Gambling's for fools and I 
know I'm bound to lose, but I aon't want to live forever" in "Ace 
of Spades." Read the lyrics to "Blaze of Glory:" "I smoke a pack 
a day/ And I drink my liver away/ That's OK if I die today/ 
Drinkin' and drivin' way too fast/ I'm not afraid of my own 
death/ You wanna go out peacefully!/ That might be what you 
want!/ That's not the way it's gonna be!/ No guts no glory!/ 
I'm going out in a blaze of glory/ And I'm taking you all down 
with me/ I'm going out in a blaze of glory/ The devils cornin' 
after me/ I'm not the type/ To go without a fight/ But when my 
time comes/ I hope it'll be right/ Being shot down/ In a hail of 
gunfire/ That's how I would like to expire/ You wanna go out 
peacefully!/ That might be what you want! / That's not the way 
it's gonna be/ No guts no glory!" "Vultures" finishes off the NO 
HOLDS BARRED half of the Stand As One CD. Very good! 

With song number seven, TERMINUS CITY takes up the 
battle cry with "Set Me Free" In "Stinking World," Frank reflects 



on fatherhood and laments the violence that children are faced 
with. In "Too Stupid/' TERMINUS CITY attribute their tenacity 
to being "Just Plain Dumb." Next up Frank and the boys do a 
nice cover of Kim Wilde's "Kids of America." Song number 
twelve is "The Blame," about assuming responsibility for your 
actions. Next up is "Glass Tower," with some good lyrics about 
people who judge you by how much money you make. Read 
these words: "You sit in your glass tower/ Looking down your 
nose at me/ Say that my friends and 1/ Are the dregs of socie- 
ty/ So you mate another million/ While I try to raise my chil- 
aren/ And all of us down here/ Are trying hard to make ends 
meet/ Don't you look down at me/ We're trying hard to make 
ends meet/ We aren't very cultured/ Don't know what fork to 
use/ Our friends aren't affluent/ Wall Street doesn't bring us 
news/ My account is empty/ I'm far from upper crust/ But if 
I'm in some trouble/ I've got people I can trust/ So you make 
another million/ While I try to raise my children/ And all of us 
down here/ Are trying to make ends meet/ We all didn't have 
the chance/ For a higher education/ We're proud of those that 
did/ And rose above their situation/ Summer vacation for me 
is/ Work and the public pool/ I can't afford your country club/ 
It doesn't make me a fool/ So you make another million/ While 
I try to raise my children/ And all of us down here/ Are trying 
hard to make ends meet." TERMINUS CITY has shown you 
once again why they are one of Georgia's most revered skinhead 
bands. Long may TERMINUS CITY prosper! 

Also out on Reality Clash this month is BATTALION 86 
from Richmond, Virginia. This is super-tough Oi! with gruff 
vocals. BATTALION 86 starts out with "Live Free or Die" and 
smashes right into "Strength For All" and "Give 'Em the Chair." 
"Once Was" bemoans how the "bureaucratic thugs" have so 
much power in our country today. "Forgotten Heroes" calls for 
respect and better treatment of war veterans. "The Coward" 
segues into "Fight the Fight" and "American Working Man" 
where Brad ana Chris illucidate the pride of the working class 
in the USA. Read these lyrics: "The working man gets snit on 
again/ Sometimes it seems that he can't win/ Gives his all for 
his family / So they can live their lives care free/ Scrappin' by on 
a petty wage/ Feelin like a rat in a cage/ Doesn't want the gov- 
ernment's help/ He can do it by himself/ Pride, strength, digni- 
ty/ Doing the best he can/ Honor, respect, and loyalty / He's the 
American Working Man!/ The working man stands above the 
rest/ No matter what he passes the test/ He's the backbone of 
the country/ Yet he's the one that nobody sees/ Loves his wife 
and kids/ They're the reason that he lives/ Day after day the 
works the same/ Feels like he's there for others gain/ Comes 
home again from the job/ After fighting the massive mob/ Pride 
is what motivates him/ To continue at this din/ His family loves 
and respects him/ They do their part to help him/ That is what 
it's all about/ Family strength will never give out! / Got his fam- 
ily, has his friends/ For them, he'll go to any ends/ Sacrifice for 
those who count/ No price on loyalty, no amount/ Always 
there through thick and thin/ Doing his best for all of them/ All 
this returned with love and respect/ Strong people like that, 
what else you expect." 

BATTALION 86 run through "Street Level Justice" "Us 
Against Them," "Steel Toe Alarm Clock" and finish up with a 
cover of the Last Resort's "Violence In Our Minds.'* This is 
rough and tumble American Oi! with deep and gruff vocals! 
Very hard shit indeed! 

The third CD available from Reality Clash this month is 
Washington DC's COUNTERATTACK and their State of Affairs 
ten-song CD. 

COUNTERATTACK start out with the title cut "State of 
Affairs." This song criticize's "Civil leaders stealing our rights/ 
Elected officials abuse their might/ Everybody bows to the 
CEOs." COUNTERATTACK moves through "Sledgehammer" 
into "Dave's Song" about a friend who left them benind and is 
sorely missed. "Brother Move On" is about a betrayal of some- 
one who you thought was your friend and the permanence of 
"You Mean Nothing to Me. 'Idiot Box" is about the evils of tel- 
evised propaganda. Check out these lyrics to "Idiot Box": You 
don't care to inform/ Status quo you must maintain/ Have the 
power to break the norm/ You don't enlighten, just entertain/ 
We've surrendered our privacy/ For an information stream/ 
Gave birth to an agency/ That isn't what it seems/ 
Sensationalize and publicize/ Watch them achieve their goals/ 
Marginalize and vilify/ The news media takes control/ We get 
one-sided news/ We get no recompense/ Their issues and twist- 


ed views/ Will be our death sentence." 

"Give a Damn" tells those righteous fools who are pushing 
their religion, designer drugs or fashion trends to stay the fuck 
away. "Choose Your Weapon" talks of the futility of the working 
man and his everyday struggle. Read this: "Soldiers march, fight 
and die/ Everlasting battle, no one questions why/ Conflict 
stretches until the end/ No cooperation, no one gives a damn/ 
Self-reliance is all you got/ To claw your way out of the rut/ It's 
not a cause we're all fighting for/ The battle's in the street and 
life's the war/ We're just rank, file cannon fodder/ It doesn't 
mean that we don't matter/ Only the strong of heart survive/ 
Choose your weapon to stay alive/ Fight with your fists and 
fight with your mind/ Because it's your life that's on the line/ 
Stand your ground and fight to be free/ Rise and claim your 
destiny/ Live every day like it's the last/ Future too soon, it 
becomes the past/ Sunrise to set, you've bled and wept/ When 
you fall, no one bats an eye/ NO legacy, so in vein you died/ 
Dead and buried, gone forever/ That's the working man's real 
future." 

"Slavery" warns of the perils of drug addiction. "Twenty- 
One Guns" is a tribute to the veterans. COUNTERATTACK fin- 
ishes off with their song "Skinheads." You get three good selec- 
tions from Reality Clash Records this month! Write for your 
Reality Clash product to PO Box 491, Dana Point, CA 92629- 
0491; www.reaiityclash.com. 

GMM Records has some fresh new selections for you this 
month. First up you get DISCIPLINE with some excellent street 
punk from Belgium circa July 2002. This is melodic sing-a-long 
punk not far removed from THE DROPKICK MURPHYS, with 
A1 Barr at the helm. DISCIPLINE start off with "Everywhere We 
Go," slam into "Citizen's Revenge" and then tune up for a real 
catchy number, "Saints and Sinners." Song four is a "Dirty 
World" followed by "Death's Glory." "Dirty World" bears fur- 
ther investigation. Read the words to "Dirty World": "I remem- 
ber the times when you were living on the street/ You had 
nowhere to go, you didn't have a place to sleep/ Well, I know 
what they say, that it's a dirty world out there/ But no on really 
gives a damn and nobody seems to care/ Like an outlaw on the 
run, running in a dead end street/ well in this world today, 
there's nothing for free/ Don't think about tomorrow/ Just liv- 
ing your life today/ Don't think about tomorrow/ You got to 
make it right today/ Don't think about tomorrow/ Living your 
life this way / Don't think about tomorrow/ Cuz tomorrow it all 
fades away/ You've been gambling all your life, now you placed 
the wrong bet/ It seems that luck has turned on you, it's time to 
pay your debts/ It's the price you pay for freedom, freedom in 
your own way/ Yesterday don't mean shit, it's all bout today/ 
Time is ticking away as the years are passing by/ Now it's time 
for you to realize that you can't hide behind your lies." 

"Broken Glass" is song number seven followed by a barn- 
burner, "Hail Hail Rock n' Roll." The song "Forever" leads into 
"City of Light," about the DISCIPLINE'S home city. The lyrics to 
"Broken Glass" may be of interest to you: "He spends his days 
in misery only trying to survive/ Everyday the same old strug- 
gle just trying to get oy/ Life is hard wnen you got no work and 
the bottle is your only friend/ Everyday so many wars to fight. 
It catches up with you in the end/ Broken glass all over/ In a life 
full of misery/ Broken glass all over/ Always trying to break 
free/ A broken man beyond his limits with no hope for better 
days/ He knows that time is running out. It slowly starts to slip 
away/ This cold and dirty world made him crack like a broken 
bottle on the floor/ One step forward and five steps back, he iust 
couldn't take it no more/ Broken glass all over/ In a life full of 
misery/ Broken glass all over/ Always trying to break free/ 
With one foot in the gutter as the weight grew on his back/ He 
played with fire and he got burned, there was no turning back/ 
Broken glass all over/ In a life full of misery/ Broken glass all 
over/ Always trying to break free." 

For their finale, the DISCIPLINE boys end with "These 
Boots." Good shit! This is certainly one of the European street- 
punk bands to keep an eye on! 

Next up this month on GMM Records you get LOVED 
AND HATED from New York. The boys rip into it with seven- 
teen songs of punk bile. You should check out their nasty atti- 
tude their song "Loved and Hated," the words go like this: 
"Welcome to the show/ Friends I see/ Let's celebrate like a vic- 
tory/ Let's get drunk/ Have a good time/ Beer, liquor, and 
some really cheap wine/ Guilliani shut down the clubs/ Well 
fuck you/ I'm from the real New York/ Ladies in the scene/ 


How we love you/ Move around/ Show them what the fuck to 
do/ Loved and we're hated and we loved to fuck you/ Born to 
lose, so they say/ We're outlaws of society/ Banned from pubs 
and the clubs everywhere/ Loved to be hated and we don't 
care/ Live from New York/ Love that sound/ With everybody 
all around/ Hey ladies we still love you / Let me hear you 
scream/ We wanna fuck you too/ Loved and we're hated and 
we loved to fuck you." LOVED AND HATED plow through: 
"Until Tomorrow," "Dead Man's End," 'No Sanity," 
"Abandoned," "Unity," "Dead Society," "Never Controlled," 
"Marital Law," "Suffocate," a really good rocker called "Shot 
Down," "I Hate You," "Underground. .".and more! This is good 
shit! 

Steel Cage Records has some musical treats for you punks! 
First up you get "The Cheesesteak Years" by the infamous RAN- 
CID VAT, currently residing in the Lone Star State. These Scum 
Rockers have been playing music longer than a lot of you punks 
have been on the planet. RANCID VAT was founded over a 
Ouija board, January 1, 1981 in Portland, Oregon by Phil Irwin, 
Marla Vee, and Steve Wilson. In 1994 Phil and Marla moved to 
Philly and joined forces with the Cosmic Commander of 
Wrestling and later Eric Perfect and Jimmy Satan. Early in 2002, 
Phil and Marla relocated RANCID VAT to San Marcos Texas. 

The lead vocal duties on this jewel are preformed by none 
other than the Cosmic Commander of Wrestling, AKA "Cosmo" 
— and this shit is brilliant! Phil Irvin, "The Whiskey Rebel," 
plays bass, Marla Vee and Jimmy Satan play guitar and Eric 
Perfect plays drums. Check out this list of scum punk monsters: 
"Rock and Roll Party Patrol," "Jobjumper," "Sucker Punch," 
"Big City Blues," 'Tdot and Nasty," "Hostile City USA," 
"Mummer Massacre," "Loser Leave Town," "Old People," 
"Testify," "Blobs Have More Fun," "Tattoo Boogie," "Hippie 
Punk/' "The Dancin' Outlaw," "The Darkest Souls in Rock and 
Roll," and "Rock and Roll Fraud"/ "Bruiser Brody." Great shit 
from one of the original nasty collections of negative people 
producing cutting-edge politically incorrect songs to live oy. 

The BAD VIBES from the beautiful Northeastern seaboard, 
USA have a kick ass CD prepared for you fucks. The CD is 
called. Hate Your Everything. Gavin comes right at you with 
"God Damned Again" and then injects even more venom with 
"Whole Lotta Nothing." Fucking rocking! the BAD VIBES plow 
through "Your Name Should Be Regret' and "Lifetime or Bad 
Days'^ and then you get a real treat! The song, "Long Since 
Gone" is great country scum punk like the mighty HAMMER- 
LOCK!! We continue to slam through "Sorry Ass Me" and 
"Drunk on Sour Grapes" only to arrive at "War on You," which 
is really rocking shit! Next up you get a brutal fucking rock 
attack on your cerebellum with "Could You Be More Wrong." 
Fuck yes! This has got some of the urgency of an ANTiSEEN 
song! Great!! The final tune is the title cut "Hate Your 
Everything" and that says a mouthful!! Excellent Oi! 

Next up on the Steel Cage Roster is the BULEMICS from 
Austin, Texas with their 2002 CD, "Soundtrack to the 
Apocalypse." This is raw Texas style punk with snotty shouted 
vocals and chugging full-force guitar attack. Check out the lyrics 
on the song, "Still Talkin' Shit": "Gonna make your sister suffer/ 
Once again and again and again/ We're still talkin' shit/ We're 
gods among men/ We'll steel your girlfriend/ Gonna hit the 
stage tonight/ And start a bunch of fights/ You say life ain't 
fair/ 'Cause your girlfriend can't be seen anywhere/ When we 
rolled through town/ I laid the mack down/ Like I didn't care/ 
But now it's all good/ 'Cause she's getting fucked just the way 
that she should/ To me it's just a fling/ Im only doing all the 
things/ You only wish you could/ We're still talkin' shit/ My 
head's between your thighs/ And Satan's gonna rise/ It's time 
for your demise/ I'm laying pennies on your eyes." 

The BULEMICS grace you with gems like "3 Seconds of 
Pleasure," "Crime Spree," "Hatefuck," Goddess of Wet 
Dreams," "Fuck the Night Away," "The Corrupter," "Tales of 
Immorality," "Goodbye Cruel World" and more! You get lots of 
ood lyrics dealing with three of the favorite subjects for 
umans: sex, drugs and alcohol, throw some rock and roll in 
and you have a complete world! 

For your essential Steel Cage Records product, including 
ANTiSEEN, LIMECELL, HAMMERLOCK, RANCID VAT, THE 
BAD VIBES, THE BULEMICS and lots more, write to the mag- 
nificent Leslie G at Steel Cage Records, PO Box 29247, 
Philadelphia, PA 19125, www.steelcagerecords.com. 

FRACAS and THE EDDIE HASKELLS, two local San 


Francisco area punk bands, had a good split seven inch last year 
that you may have missed. Bad boys extraordinaire, THE 
EDDIE HASKELLS offer up two snotty punk rock 
ragers: "Dumpster Divin'" with ^Lust n' Danger." This shit has 
some of the negative attitude that you expect from THE NUM- 
BERS or SMOCTOWN. You could possibly switch right from 
your DEAD BOYS LP to the EDDIE HASKELLS EP. Flip this 
over and you get FRACAS doing a good mixture of the MISFITS 
-go-to-Carolina-on-a-Southern-scum-rock holiday. Joe and the 
boys do an original, "So Sayeth" and then tear into "Fuck All 
Y'all" by ANTiSEEN. Quite good! Check out these miscreants 
ASAP. THE EDDIE HASKELLS and FRACAS are often found 
where humans are consuming copious amounts of alcohol. Rest 
assured: mistakes will be made! 

Scott Carlson, currently of the 70s influenced hard rock out- 
fit, THE SUPERBEES, from Hollywood, California was in one 
of the truly legendary US metal bands of the 80's: REPULSION. 
The REPULSION CD Horrified has been re-released on Relapse. 

Unquestionably one of the fastest bands to emerge from 
the worldwide metal scene, Flint, Michigan's REPULSION orig- 
inally formed in 1984 under the name TEMPTER. The line-up 
consisted of Scott Carlson (vocals), Matt Olivo (guitars) and 
James Auten (drums). TEMPTER was mainly a cover oriented 
band playing IRON MAIDEN and GBH material at the same 
time! 

In the summer of 1984, Auten was replaced by Phil Hanes. 
The name was changed to ULTRAVIOLENCE briefly before set- 
tling on GENOCIDE around fall of 1984. At that point, they were 
essentially influenced musically by HELLHAMMER/CELTIC 
FROST, DISCHARGE, VOIVOD, CRUCIFIX (SF), VENOM, 
SLAYER, GBH, SLAUGHTER and lyrically by splatter movies 
such as "Dawn of the Dead," "Re-Animator" and "Evil Dead," 
as well as the apocalyptic lyrics growled by Cal of DISCHARGE. 

The quartet produced a few originals and by November 
1984 they were recording in Hines' basement. A three track 
rehearsal session featuring "Armies of the Dead," "Crack of 
Doom" and "Satan's Whores" was released to underground 
metal fanzines such as Sledgehammer Press and Brain Damage. 
Soon the demo found its way into the worldwide tape trading 
network. Trivia fans will note that GENOCIDE had the oppor- 
tunity to open for SLAYER in Flint, Michigan on their first every 
US tour that same month. 

In October 1985, a six-track rehearsal session titled Violent 
Death , was recorded in Matt's bedroom showing clearly this 
time that the band had the potential to come up with some 
intense deathcore material. 

At the same time, they started gigging locally, including an 
opening slot for COC ana DRI. In January 1986 the band were 
preparing to enter WFBE studios to record their first real demo. 
They asked their longtime friend, Aaron Freeman, to play guitar 
on that session to fill out the sound, the resulting 12 tracks col- 
lectively titled "The Stench of Burning Death" still remains as 
one of the hottest demos ever to emerge from the underground 
Metal scene. It introduced new extremes in hardcore Metal com- 
bining unrelenting blast beats, spastic, lightning fast guitar 
work, bulldozing, distorted bass sounds, guttural vocals and 
extreme gore lyrics. All of this packed into tight, catchy arrange- 
ments that rarely exceed the two minute mark. 

With Aaron becoming a permanent member, the band 
resumed gigging locally and tried to attract label interest by 
shopping around their demo. At this point GENOCIDE was 
starting to make an indelible mark on the world's tape trading 
addicts and fanzine writers while receiving nothing but indif- 
ference from underground Metal labels. Most record companies 
viewed the material as too extreme and unmarketable. Time 
would tell that the Grindcore sound they pioneered was ulti- 
mately ahead of its time. The music would prove to be a major 
influence on the likes of NAPALM DEATH, CARCASS, 
ENTOMBED and endless other extreme Metal acts. 

Since there were several other bands going by the name of 
GENOCIDE (and the fact .that they weren't happy with the 
name in the first place), the lads changed their name to REPUL- 
SION in May 1986. 

With the band receiving no label interest, they decided to 
record a self-produced LP with the financial help of long time 
friend, Doug Earp. In June, 1986 they entered a small 16 track 
studio and laid down 18 songs that were intended to make up 
their debut album Slaughter of the Innocent. The entire recording 
cost $300 USD. 


Featuring most of the material from their previous demo 
plus eight new tunes, the demo /album was again immediately 
met with praise from fanzines and fans. However, 
REPULSION'S over the top music and lyrics (both now more 
extreme than ever), found no home with a record label. With no 
foreseeable future, the band began to lose focus and Dave left in 
July of 1986.. Frustrated by their lack of success the band broke 
up after a final gig in September of 1986. Over a year after the 
breakup, REPULSION were asked by Doug Earp to play a 
reunion gig for him. It took place with the classic line-up on 
November 7th, 1987 at the Fallout Shelter, Flint, Michigan and 
surprisingly another reunion gig took place in the same hall two 
months later on January 1st, 1988. 

As the interest in REPULSION music had become even big- 
ger as time passed. Bill Steer and Jeff Walker from UK's CAR- 
CASS decided to release the legendary Slaughter demo on their 
Necrosis label - a subsidiary of Earache Records. The demo, re- 
mixed and re-titled Horrified for it's vinyl debut, was finally 
released in June of 1989 - a full three years after it was recorded! 

Given new confidence, the band decided to reform and give 
it another try. the reformation gig took place at the Capital 
Theater, Flint, Michigan on October 13th, 1990 with Dave, Scott, 
Aaron and Matt. The show was a great success and more live 
appearances followed, but as a three piece, while Matt fulfilled 
a stint in the Army. By January 1991, REPULSION were back in 
the studio for the first time in four years to record a four track 
demo featuring brand new material. These songs showed the 
band opting for a mid-paced approach as opposed to the all -out 
total speed that characterized the GENOCIDE /REPULSION 
sound before. A two song single was soon released by Relapse 
Records featuring "Excruciation" and "Helga (Lost Her Head)" 
from the demo. 

Between the few shows they were playing, the band were 
writing new material with the hope to see Matt leave the Army 
and rejoin them, which finally happened in 1992. With Matt 
back in the ranks, they entered the studio (Matt's bedroom to be 
exact!) to demo some new material such as "Deranged," 
"Something Dead" and "Face of Decay" with the hope to record 
a new album. The band was back to their "total speed" sound, 
but Scott's interest had decreased a great deal and it signed 
REPULSION'S demise. 1992 saw Relapse release the Horrified 
album in the US with a new layout and a bonus track, "Black 
Nightmare" taken from the Stench 1986 demo. Contact Relapse 
Records for your copy of "Horrified" — this shit is amazing 
today, and was years ahead of it's time. (Thanks to Relapse 
Records for the liner notes) 

Riot On Your Own was an excellent Irish punkzine that cov- 
ered many of the great street punk bands from that area of the 
world as well as from other locales. As a farewell gesture. Riot 
On Your Own has put out an excellent CDR compilation called A 
Riot Down the Lane. This has great music!! Check out this list of 
bands, the songs they offered and their hometowns: SPECIAL 
DUTIES, "I Wish It Could Be 77," Colchester; RUNNIN RIOT, 
"Kill the Police," Belfast; INTENSIVE CARE, "Blasphemy Ben," 
London; SABREJETS, "Wild for Kicks," Belfast; ANNALISE, 
"Signposts & Alleyways," Exeter; DECOY 47, "Vision from 
Above," Belfast; FOURLETTERWORD, "A Cold Day In Hell," 
Cardiff; SKINT, "Thief in the Night," Dublin; BARSE 77, "Sisters 
Making Pomos," Newcastle (England); THE STEAM PIG, "Pilot 
Husbands Stepford Wives," Dublin; RED EYES, "Wake Up 
Call;" Glasgow; MR NIPPLES, "Everybody Thinks I'm 
Paranoid," Belfast; DOGSHIT SANDWICH, "Punkshit," 
Oldbury; THE DANGERFIELDS, "17 Forever," Belfast; 
VICIOUS, "Been Out Drinking," Ashmore City (Australia); 
NORTHERN DRINKING CULT, "Gate Crashers," Adelaide 
(Australia); BOMBSCARE, "Bullet in the Back," Adelaide 
(Australia); ON ACTIVE SERVICE, "Pulling On My Boots 
(Live)," Adelaide (Australia); and RUNNIN RIOT, "Johnny 
Reggae (Live);" Belfast; Ireland. This is a good compilation! 

Ms. Tara West wrote some final words about what Riot On 
Your Own meant to her and the local punk rock community. 
Read on: " Riot On Your Own , the fanzine, is dead. Riot On Your 
Own kept promising to die at the end of every issue only to reap- 
pear, clenched joyously between the editor's busted Knuckles, 
only months later. Variously described as Belfast's punk Hello, a 
ile of self-indulgent old wank and a breath of stale punk air, 
iot On Your Own was written, typed, printed, photocopied and 
stapled courtesy of one of Northern Ireland's largest capitalist 
organizations (unbeknown to them of course). Despite its sub- 


versive production and blissfully bad spelling, this was a 
fanzine which inspired hope. 

Slavishly detailing the performances of visiting bands such 
as GBH, UK SUBS and the DROPKICK MURPHYS, and sup- 
porting stalwarts of the local scene, RUNNIN RIOT, MR NIP- 
PLES and DANGLEBERRIE, THE SABREJETS and DECOY 47. 
Also nurturing the up and coming energy of THE DANGER- 
FIELDS, TEFLON DON, FUCKALLSQUARED, 'UM SEXY 
RESULTS. Riot On Your Own was a dynamic record of Belfast's 
small but resilient punk scene. It was proof that punk didn't die,. 
It was an ongoing celebration of a chosen lifestyle. If you want 
to get philosophical about it, it was a testimony to the longevity 
of belief. 

And now of course. Riot On Your Own is gone. I am assured 
it's definitely floating tits up in metaphorical fanzine history. 
This compilation is its legacy — the best of the local punk scene 
and beyond. Enjoy, if you can, the ugly lovechild of Belfast's 
only capitalist — sponsored journal of anarchism. Thanks to 
everyone who was involved in any way th^t Riot On Your Own 
fanzine and all the bands who volunteered material for this 
compilation. It is comprised of most of my favorite bands and 
specific songs reviewed over the last three years. Try to contin- 
ue supporting the whole DIY underground movement and keep 
believing you can make a difference." 

Until next month. 

See you fucks at the bar! 


"A swimsuit issue?" 

Arwen grimaced at me in 
her oft-neard tone which 
implies "Mike Thorn, 
you've totally lost your 
mind — please return to 
Ohio now and leave us 
California folk alone." It 
was an internal struggle 
around here, but here it is, 
the first ever and soon to be annual Swimsuit edition of 
Maximum Rocknroll. But why? Simple: sex sells. Imagine how 
many copies Punk Planet must have sold of that "Punk Porn" 
issue? And do you really think anyone ever purchased the Probe 
for its reviews? Yeah, and my brother reads Playboy for the arti- 
cles. Personally, I think this is a good direction for MRR to be 
going in, and you can look for more of the same in coming 
months as we add an advice column (start sending in those 
questions now!), a fashion section, and punk rock astrology! Of 
course, to make room for these exciting new additions, we will 
be forced to trim down the news section a bit and also must cut 
a few columnists. So, it is with a heavy heart that I must 
announce we are begining the layoffs by firing both Mykel 
Board and Bill Florio. This will be viewed as a blessing to some 
of you, who are tired of their obxonious New Yorker sense of 
humor, while some of you will probably view this as the worst 
mistake that we've ever made — thinking them two of the finer 
writers the punk world has ever produced. 

On our end, we're sad to be letting them go, but to be frank, 
things are changing at a quick pace around here. While some 
view them as institutions at MRR, to Arwen and myself, Mykel 
and Bill represent the old MRR. We want to be proactive and 
ahead of the trend curve — so it's out with ancient columnists 
and in with reviewing Electroclash records. Out with punk 
record reviews and in with fashion photo spreads. No more 
scene reports from far-away countries, just tips on the proper 
etiquette for wearing multiple studded belts. It's going to be 

f reat, I promise. No... really, 
ndnotes: 

1) From this point on please send all nude photos of yourself 
which would normally go to Mykel, care of me to the MRR PO 
Box. Does anyone mail anything to Florio? I'm guessing not, but 
just in case, send that to the PO Box too, care of Floyd. 

2) Ask Justin from CRUCIAL UNIT about the one-two punch of 
Ethiopean food and chocolate cake. Also please ask him what 
sort of asshole eats fruit at a buffet. 

3) I write this in February, it comes out in mid-March, yet the 
cover says April. Confused? Perhaps in more ways than one. 

4) As usual please contact me via the MRR PO Box or by using 
mikethom@maximumrocknroll.com 



Board & the Lord 

Well, Mike Thorn opted 
for diplomacy, for once. His 
column this month neatly 
sidesteps the real reason 
Mykel board won't be writ- 
ing for MRR anymore. I 
don't blame him for being 
evasive. Believe me, it's 
with a heavy heart that I'll 
relate the whole story. 

A few weeks back we talked on the phone, just like Mykel's 
column says we did. But he was the one who made the call. He 
sounded different than usual... I don't know, almost... dreamy... 

After a few minutes of ho-humming, he burst out with it. 

"Oh Arwen," he gushed like an Avon lady from Manhattan. 
"I finally met someone! I just had to call somebodyl" 

"You did! Is it a he?" I asked. 

"It's a Him, actually," he replied. "And he's wonderful." 

I started to feel a little funny. I'd never heard Mykel talk 
about a conquest like this before. This outburst of giddiness 
sounded bizarre filtered through his thick shrug of an accent. 

"He's so loving and all-powerful," he continued. "I'll never 
caress another smooth young ass as long as I live. Or after- 
wards." 

"Jesus Christ, Mykel, you sound like a fucking convert," I 
said, unable to hide my embarrassment. 

His voice got serious. "And that, my misguided young 
friend, is what they mean by in vain," he said curtly, ana hung 
up. 

I stared at the receiver in disbelief. Not Mykel, surely! He 
was so shocking, so cutting edge! His columns regularly shook 
my fragile lefty politics to the very core. This was unthinkable. I 
hit redial. 

"Mykel, I know you like them well-hung," I said, but this is 
ridiculous. You, of all people, born again?" 

"I know it's hard for you to understand," he replied, a little 
defensive, "but I've grown tired of hunting after sex just to have 
something to write about. I've found a deeper connection with 
Jesus. I guess in the end, all I wanted was a guy with a big doc- 
trine." 

"Well, he does have a pretty good-sized schtick," I said, 
"but Mykel, you need to think of your own big schtick. I mean, 
you're a free thinker, and a Jew, for Christ's sake..." 

"Arwen," he said, solemn again, "I can't keep talking to you 
if you keep taking his name in vain." 

"Sorry... Jesus, I'm sorry..." But it was too late. He hung up 
again, ana we hung up his MRR preaching rights soon after. We 
split ways by mutual agreement, actually, quite amicably. 
Because the deadline for this issue was coming up, I even 
slipped in one last favor. 

"The least you can do is go out with a bang," I urged. "For 
your last column, how about writing something so monumen- 
tally shocking, so completely over the top, that the kids will talk 
about it for years to come. Slaughter our sacred cows and serve 
them to us as a nice pate. Dismantle the ideological prison of 
political correctness brick by brick, and then drop the bricks on 
sensitive types from third story windows. Do what you do best, 
Mykel, one last time." 

And that, my friends, is what he did. Read it and weep. I 
know I did. 

Personal Space 

Here's something that happens to me a lot. I'm in a crowd- 
ed room, say, at a punk show. I'm standing back from the bands, 
just past all the mosh, or more towards the back, where you can 
see more. I'm by myself, or with someone else, or in a little 
clump of people. 

People need to move around; those in the pit need fresh air, 
warm beer, a chance to stand back and appreciate the pit from 
afar. Those not in the pit need to get the pit, or closer to the stage, 
or whatever. There's a flow of traffic. 

I've noticed that the space I've chosen to stand in will often 
become a sort of a gate in and out of the action. Dudes will put 
a hand on my shoulder and another on my back, physically 
moving me aside. Sometimes they'll mutter "excuse me/' which 
might make it OK, except that they don't make eye contact. They 
stare over my head at tneir destination while their hands move 
me out of the way, much like a piece of furniture that's too much 
trouble to walk around. 


I've done a couple of experiments, to make sure that it was- 
n't just that I'd always stand at the most convenient spot for traf- 
fic. But no, not so. It's gotten to where I can see the dudes (and 
girls, often enough) approaching, and I know they'll weave 
right around to me. I figured it out, finally: they're scoping out 
the path of least resistance. Guess who? 

I mean. I'm a punk rocker. I have funny hair and wear 
spikey bracelets. I grew up in the city; I know how to look at 
people on the street so that most of the time they won't fuck 
with me. When to make eye contact that lets people know both 
how alert you are and little they would get from you. When, in 
more volatile situations, to avoid eye contact completely. But I'm 
also a girl, and five-foot-two. I look smaller than I feel. And in a 
dark club, I can't rely on eye contact and body language. 

Don't get me wrong: I'm not talking about the friendly, inti- 
mate physical chaos of the pit, where we all put our bodies out 
in shared space for touching and shoving. And I'm not talking 
about a little compromise: it's instinctive and fair for people to 
give a little, when they pass on a crowded street or in another 
tight spot. It wasn't until I realized I was supposed to give all the 
time that I started to get annoyed about it. Now I just stop mov- 
ing aside, after the second or third gentle push on the shoulder. 
I don't push back; I just make myself solid, hold my ground. It's 
amusine to watch trie confusion this creates. 

Girls almost always find another way through, without 
comment. Dudes either push harder, finally having to either 
really push me — which is not the point — or give up, which most 
men are opposed to on principle. Sometimes they lean down 
and give me an exaggerated, condescending "excuse me" — as if 
it were an act of insolence on my part to demand that someone 
address me personally when they put their hands on me. 

This resistance may sound childish, but I think it actually 
works to a productive end. It has the effect of forcing men to 
confront me, to realize that by shoving or touching someone, 
they have potentially initiatea an antagonistic relationship, no 
matter how harmless that person appears. And hopefully to 
realize what every genuinely tough person knows: wnat makes 
a person dangerous isn't a matter of size; it's a matter of anger, 
of confidence, and of how much (or how little) they have to lose. 

In With the Old World, Out With the New 

The UN Security Council meetings in February were some- 
thing else. France and Germany's messages to the world , in par- 
ticular, reached back to Enlightenment, to the "modern" values 
of diplomacy and rational thought. They carried the sentiment 
that the Council was the guardian of the free world: our safety 
and our integrity. The words rang strangely in my ears, which 
are so accustomed to the Bush administration's boyishly secre- 
tive, bullying rhetoric. Their loftiness affected me, almost 
against my will. 

I believe there is some truth to the idea that Germany has 
assimilated pacifism into its collective consciousness at a pro- 
found level. I'm not informed enough about France's economic 
interests in the Middle East to speculate about its other motives, 
but certainly they are there. Nonetheless, I couldn't help but feel 
that the effect of the Council meetings was to shift the moral cer- 
titude away from the US. Dare we hope for a real resistance from 
these countries? And if so, how does Bush expect to successful- 
ly disengage Americans from their cultural ties with France and 
Germany? I mean, it's one thing to demonize far-away people of 
color, with funny ways and customs that only a tiny minority 
here share, but this "Old Europe" has its clutches deep in our 
mainstream consciousness. I'm on the edge of my seat, hoping 
they stand their ground. 


My belated but sincere thanks to Mike Thom and Clara for 
holding the ship together during my family leave during the 
production of issue #238, my 50tn issue of MRR. Also love and 
gratitude to Gina, Aaron, and Paul, for holding me together, 
Aaron for last-minute copyediting help, Kat, Jake, Laura, Sara, 
Brad, and everyone else who showed their support in hard 
times. 

I write letters. Here's how: 

PO Box 170291, San Francisco, CA 94117 
arwen@maximumrocknroll.com 




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Mil NEWS 


NO. 239 
April 2003 
compiled by: 
Arwen Curry 


IS THE RIGHT TO MARCH A SECURITY ISSUE? 


Published by the Long Island, NY Newsday 
by Bruce Ackerman 

This is a dark time for constitutional liberty, but the fate of 
Saturdays peace demonstration in New York deserves a footnote in 
tomorrow’s history books. The demonstrators proposed a march past 
the United Nations to Central Park to support the role of the UN 
inspectors in Iraq and to denounce the prospect of unilateral warfare. 
But Mayor Michael Bloomberg, citing security concerns, said no. 

The most the mayor would allow was a rally at the plaza in front 
of the UN for 10,000 participants. The overflow was herded into 
“pens” that the police constructed for miles down the center of First 
Avenue. Once a demonstrator entered his assigned pen, he wasn’t 
allowed to fraternize with people in other pens. While others marched 
with dignity throughout the world, hundreds of thousands of New 
Yorkers were kept behind barricades. 

This policy was nothing new. The Bloomberg administration has 
banned all protest marches in Manhattan since September 2002. 
Nevertheless, the federal courts upheld the city, enabling it to maintain 
its hardline position. 

For all his sound and fury during eight years in office, former 
Mayor Rudolph Giuliani never imposed such a sweeping prohibition. 
Suddenly, the only people who can march are innocuous folk, engaged 
in ethnic celebration. The city has granted a permit for 120,000 
marchers to strut their stuff at the St. Patrick’s Day parade. Only the 
UN protesters and their ilk are left to freeze in their pens. 

As someone who made his fortune creating a media company, 
Bloomberg certainly knows that the First Amendment doesn’t protect 
only marchers on St. Patrick’s Day. The Constitution is especially con- 
cerned with the threat of political suppression. During the 1960s, fed- 
eral judges were tireless in striking down the countless pretexts used by 
Southern cities to suppress civil rights marches against segregation. 

But the federal courts failed to rise to the occasion this time 
around. When the march organizers went to court, federal judges rub- 
ber-stamped the pretexts advanced by the Bloomberg administration. 


The city emphasized that the St. Patrick’s Day organizers work with the 
police in advance to assure against security risks. In contrast, the peace 
organizers could not say for sure how large their parade would be. 
Given this uncertainty, the courts upheld the city’s decision to ban the 
march as a reasonable safeguard against violence. 

Of course, political protesters never can control the timing of 
national crises — and yet their right to march has been a central part of 
the First Amendment tradition. The city offered no evidence of any 
clear and present danger to public safety, and the Saturday demonstra- 
tion occurred without significant incident. If the bare risk of disorder 
suffices for suppression, we have come to the end of the road. 

Hoping to narrow the sweeping force of her opinion last week, 
U.S. District Court Judge Barbara Jones pointed to the fact that “the 
nation and the city are currently at the second highest security alert.” 
This makes the decision worse, not better. We are only at the beginning 
of an endless war against terrorism. Are fundamental political rights to 
be contingent on FBI decisions to change the alert from yellow to 
orange? Such a power can be blatantly abused for partisan ends. 
Nevertheless, the court of appeals affirmed Jones decision, and time ran 
out before the full U.S. Supreme Court could give serious consideration 
to the matter. So the marchers were kept in their pens, creating a 
precedent that will haunt us in the future. 

This is not the First time the lower courts have crumpled in the 
defense of civil liberties after Sept. 1 1 . Most notoriously, they have 
upheld the president’s power to detain U.S. citizens indefinitely with- 
out trial by declaring them “enemy combatants.” As these precedents 
mount, it is time for all of us to reconsider the grim constitutional order 
we are so hastily creating. 

Perhaps it is a good thing that the Supreme Court hasn’t allowed 
itself to enter the fray too quicldy. A pause will allow it to appreciate the 
high stakes involved. But in the meantime, events in New York should 
caution us about the frightening ease with which our most precious lib- 
erties can disappear. 

Bruce Ackerman, professor of law and political science at Yale, is 
author of “We the People.” 


SAN FRANCISCO: COPS LOSE TEMPER, CROWD FIGHTS BACK 


Following the main march in San Francisco on 2/16, approximately two 
thousand people joined an unpermitted breakaway march. The march started at 
Civic Center and headed downtown. The crowd was blocked from entering 
Union Square and one person was arrested in a confrontation in front of the 
Crate and Barrel. The crowd then moved towards Powell St and several people 
climbed on top of a cable car with their signs. While over six people had climbed 
onto the car, the only one arrested (minutes after climbing down) was the sole 
African American in the group who 
had been on the car. The crowd then 
moved towards the San Francisco 
Shopping Center where a window 
was broken at Abercrombie and 
Fitch. As the crowd moved back up 
Market St another window was bro- 
ken at Old Navy but there were no 
arrests. 

As the march was returning to 
Civic Center, it got boxed in by 
police near 8th and Market. As the 
crowd chanted to be let go, the police 
lost control of their horses. The hors- 
es reared and jumped into sections of 
the crowd. Angry protesters attacked 
by the horses started throwing things 
and the police line collapsed with 
protesters moving back as a group to 
8th and Market. At 8th and Market 


the police arrested perhaps one or two people for minor charges and the crowd 
tried to block the police cars from leaving and a police car window was broken. 
The police then charged, swinging batons and hitting (and kicking ) everyone in 
sight. 

Eventually the number of protesters decreased, the police took the inter- 
section and the protesters got back on the sidewalk. Due to the location most of 
the crowd was now composed of people leaving the main march rather than the 

original breakaway protest. 
Around 7 PM the police 
stopped blocking the intersec- 
tion, the crowd moved in and a 
few minutes later several hun- 
dred police moved back to 
retake the intersection. There 
was no conflict and most peo- 
ple moved back to the sidewalk 
but a small group of people 
(perhaps forty protesters) was 
surrounded in the middle of 
the intersection. The small 
group sat and locked arms and 
after the police used various 
pain techniques the small 
group of peaceful protesters 
were put in several police cars 
and a bus. 




The US: A Nation Divided, With No Bridges Left to Build 


Published by the Independent/ UK 
by Robert Fisk 

The show was over, recorded for one of those 
nice liberal local American TV cable channels — this 
time in Texas — where everyone agrees that war is 
wrong, that George Bush is in the hands of right-wing 
Christian fundamentalists and pro-Israeli neo- conser- 
vatives. 

Don Darling, the TV host, had just turned to 
thank me for my long and flu-laden contribution. 
Then it happened. Cameraman number two came 
striding towards us through the studio lights. “I want 
to thank you, sir, for reminding us that the British had 
a lot to do with the chaos in the Middle East, “ he 
said. “But I have something else to say.” 

His voice rose 10 decibels, his bare arms bounc- 
ing up and down at his sides, his shaven head struck 
forward pugnaciously. “Yeah, I wanna tell you that the 
cause of this problem is the fucking medieval Arabs 
and their wish to enslave us all — and I tell you that it 
is because we want to save the Jews from the fucking 
savage Arabs who want to throw them into the sea 
that we are about to fuck Saddam.” There was a pause 
as Don Darling looked at the man, aghast. “And 
that,” cameraman number two concluded, “is the 
fucking truth.” 

Darling called to the studio manager. “Where 
does this man come from?” he demanded to know. 
The lady from the University of Texas — organizer of 
this gentle little pow-wow — advanced on to the stu- 
dio floor in horror: “Who is this person?” I didn’t 
know whether to laugh or cry. All of a sudden, our 
nice anti-war chat had been brought to a halt by a 
spot of redneck reality. There really were right-wingers 
out there in the darkness who really did want George 
Bush to zap the Arabs. I asked the guy his name: 


“Gregg Aykins,” he said. “And the FBI can do noth- 
ing to me if you give them my name.” 

It was a telling moment, a symbol of the vast 
gulf of reason between the pro- and anti-war move- 
ment in America. They don’t talk to each other. And 
if they do, neither comprehends the other. Like the 
endless chat programs on Pacifica Radio and all the 
smaller liberal talk shows from Boston to LA that 
serve up inedible dollops of anti-Bush, anti- 
Republican rant, there is simply no contact between 
the intellectual “elite” of the left and the less privileged 
Americans who work with their hands and join the 
military to gain a free education and end up fighting 
America’s foreign wars. 

At a seminar at the University of North 
Carolina, I listened to a group of professors and sen- 
ior lecturers and “activists” debating how to influence 
the “path to war.” “What we’ve got to do is to reach 
out to mainstream press and bridge-build to other 
activists,” a lady with long gray hair announced, read- 
ing a list of proposals — all couched in the language of 
academic discourse that ensures her message is incom- 
prehensible outside academia — which she wished to 
discuss. 

Quite apart from the irredeemable nature of the 
“mainstream” press — The New York Times, The 
Washington Post and the rest are far too busy carrying 
more Iraqi horror stories from “intelligence sources” 
than reporting the American anti-war movement — 
the lady’s desire to “bridge-build” with fellow 
“activists” was all too familiar a theme. 

The people with whom these liberal academics 
should be building bridges are the truck-drivers and 
bell-hops and Amtrak crews, the poor blacks and the 
cops whose families provide the cannon fodder for 
America’s overseas military adventures. But that, of 
course, would force intellectuals to emerge from the 


sheltered, tenured world of seminars and sit-ins and 
deal directly with those whose opinions they wish to 
change. 

When I made this very point at Harvard and 
several other universities, I was told, rather patroniz- 
ingly, that these people — the phrase was almost iden- 
tical — had “so little information” or are “not very 
informed.” This is, in fact, untrue. I have heard as 
much sense about the Middle East from a train crew 
en route from Washington to Georgia and from a 
waiter in a St Louis diner as I have from the good 
folks of North Carolina. 

Black Americans, for example, are uninhibited 
in their sympathy for Palestinians under occupation. 
But when I told a lecturer in Austin that I had asked 
hotel staff and air crews to turn up to my lectures on 
the Middle East and America — and that all had 
come — I was treated with a kind of weird amazement, 
puzzlement that I should bother to ask such 
unpromising material to think about the Arab-Israel 
conflict mixed with faint pity that I should ever 
expect them to understand. 

Sometimes I rather suspect that the anti-war left 
in America likes being in a permanent minority. I 
mean no disrespect to the Noam Chomskys and 
Daniel Ellsbergs and Dennis Bernsteins; they fight, 
amid abuse and threats, to make their voices heard. 
Yet I have an uneasy feeling that many on the intel- 
lectual left are fearful that America will lose its next 
war amid massive casualties — but are even more fear- 
ful that America may win with minimal casualties. 

Perhaps this is unfair. But as long as America’s 
anti-war movement talks to itself rather than to oth- 
ers, it is going to go on being surprised when the 
Gregg Aykinses emerge from the darkness with their 
hatred and venom intact to support George Bush’s 
forthcoming war in Iraq. 


YOU FLY, THEY SPY 

from Mondo Washington by James Ridgeway 

While Congress voted last week to curb the Pentagon’s efforts to set up a broad 
electronic spy program, there is an equally bad project within the Department of 
Transportation that would officially label every person who rides a commercial airliner 
as a potential terrorist and a threat to national security. By doing this, the department 
can gather all sorts of information and conduct background investigations of airline pas- 
sengers that otherwise would require court orders. This program is tucked away in what 
the DOT euphemistically calls the Privacy Act System of Records, Christopher Effgen 
reports on his Disaster Center Web site. “DOT,” Effgen writes, “is proposing that pas- 
sengers’ names be entered into a computer program that will then match their name 
against names in law enforcement systems of records, financial and transactional data- 
bases, public source information, proprietary data, and be used to create risk assessment 
reports. When a person is identified as being a possible suspect, in violation of any fed- 
eral, state, territorial, tribal, local, international, or foreign law, the information will be 
forwarded to the appropriate law enforcement agency. These agencies may also access 
the database.” All of this is being done as part of the department’s “risk assessment” for 
spotting would-be terrorists getting on planes. 

The database has other uses, of course, as a tool in deciding whether to hire or 
fire someone, issue a security clearance, make a grant, give a license. The applicants will 
never know they are being scrutinized through this secret system 

GRAFFITI SPACE TRAP TESTED 

LOS ANGELES (Reuters) — Satellites and super-sensitive sensors are now tuned 
to the sibilant hiss of spray cans in a space-age effort to eradicate one of the oldest 
and most persistent urban problems — graffiti. 

TaggerTrap, a graffiti eradication system being tested in several California 
cities, uses global positioning system technology, cell phones and sensors that rec- 
ognize the ultrasonic pitch of spray cans to alert police when vandals begin their 
work, representatives said. 

“The tagger, when he pushes down on that spray can, he’s calling police,” 
said George Lerg, co-founder of TrapTec, the Escondido, California-based com- 
pany that developed TaggerTrap. 

The unique, ultrasonic tone emitted by aerosol paint cans trips the sen- 
sors, which signal a transmitter linked to a police cell phone or radio. The global 
positioning system pinpoints the location of the transmitter, Lerg said. 

The portable sensors have a range of 100 feet in any direction. 


GOVERNMENT TO ADDRESS HUMAN 
RIGHTS ABUSES IN PRISONS 

The East African Standard (Nairobi) 

Eliud Miring’uh, Nairobi 

The Government has pledged to tackle issues of serious human rights abuses in pris- 
ons, including torture of inmates. 

The Minister for Home Affairs and National Heritage, Moody Awori, expressed shock 
on learning that female inmates have been impregnated by Prison officers, while other inmates 
were tortured and killed. 

Awori was speaking at his Jogoo House office when he received members of the 
Standing Committee on Human Rights led by their chairman, Prof Onesmus Mutungi. 

Mutungi later presented the minister with a report his committee compiled last year, 
detailing horrific details about the state of Prisons in Kenya. 

The report touches on torture of inmates, inhuman living conditions for both inmates 
and prison warders, poor health services, grabbing of prison land and congestion. 

Mutungi revealed gory details of prisoners who were tortured to death by warders and 
cited the case of King’ong’o prison in Nyeri two years ago. 

He also cited several deaths of inmates in Shimo la Tewa and Kodiaga Prisons occa- 
sioned by poor living conditions, congestion, and lack of health services. 

Mutungi also exposed cases of female inmates who had been raped and impregnated 
by prison officers in Lang’ata women barracks, Embu, and Kakamega Prisons. 

The report touches on poor living conditions for warders, and cites Kamiti Maximum 
Security Prison where warders live in small rooms covered with polythene paper. 

Said Mutungi: “You cannot expect prison warders to rehabilitate inmates when they 
themselves live in worse conditions than the prisoners.” 

Commenting on the minister’s recent tour of Lang’ata women barracks, Mutungi told 
Awori he is yet to see the worst. 

Touching on congestion, Mutungi said the current capacity for Prisons was 14,000 
inmates against 40,000 inmates who are spread across the country. 

“All the resources in Prisons are over-stretched including food, medical care, housing, 
and other amenities,” said Mutungi. % 

He complained that over 60 per cent of the prison population comprised remandees 
because they can’t raise stiff bonds imposed by courts, or in cases where those arrested could 
not appear before court for lack of transport. 

The report complained against grabbing of Prison land, and cited Lang’ata women bar- 
racks, Kitale, and Shimo la Tewa where influential personalities and senior Prison staff had 
grabbed large chunks of land and other properties. 

Commenting on the report, Awori said the Government will change the name “Prison” 
in favor of “Reformatory Centres” in order to change their image. 


FULL U.S. CONTROL 

by Karen DeYoung and Peter Slevin 

The Bush administration -plans to take complete, unilateral control of a 
post-Saddam Hussein Iraq, with an interim administration headed by a yet- 
to-be named American civilian who would direct the reconstruction of the 
country and the creation of a “representative” Iraqi government, according to 
a now-finalized blueprint described by U.S. officials and other sources. 

Gen. Tommy Franks, the head of the U.S. Central Command, is to 
maintain military controkas long as U.S. troops are there. Once security was 
established and weapons of mass destruction were located and disabled, a U.S. 
administrator would run the civilian government and direct reconstruction 
and humanitarian aid. 

In the early days of military action, U.S. forces following behind those 
in combat would distribute food and other relief items and begin needed 
reconstruction. The goal, officials said, would be to make sure the Iraqi peo- 
ple “immediately” consider themselves better off than they wer£ the day before 
war, and attribute their improved circumstances directly to the United States. 

The initial humanitarian effort, as previously announced, is to be direct- 
ed by^ retired Army Lt. Gen. Jay M. Garner. But once he got to Baghdad, 
sources said, Garner would quickly be replaced as the supreme civil authority 
by an American “of stature,” such as a former U.S. state governor or ambas- 
sador, officials said. 

Officials said other governments are being recruited to participate in 
relief and reconstruction tasks under U.S. supervision at a time to be decided 
by Franks and officials in Washington. Although initial food supplies are to be 
provided by the United States, negotiations are underway with the U.N. 
World Food Program to administer a nationwide distribution network 
Opposition leaders were informed this week that the United States will not 
recognize an Iraqi provisional government being discussed by some expatriate 
groups. Some 20 to 25 Iraqis would assist U.S. authorities in a U.S. -appoint- 
ed “consultative council,” with no governing responsibility. Under a decision 
finalized last week, Iraqi government officials would be subjected to “de- 
Baathification,” a reference to Husseins ruling Baath Party, under a program 
that borrows from the “de-Nazification” program established in Germany 
after World War II. 

Criteria by which officials would be designated as too tainted to keep 
their jobs are still being worked on, although they would likely be based more 
on complicity with the human rights and weapons abuses of the Hussein gov- 
ernment than corruption, officials said. A large number of current officials 
would be retained. 

Although some of the broad strokes of U.S. plans for a post-Hussein Iraq 
have previously been reported, newly finalized elements include the extent of 
U.S. control and the plan to appoint a nonmilitary civil administrator. 
Officials cautioned that developments in Iraq could lead them to revise the 
plan on the run. Yet to be decided is “at what point and for what purpose” a 
multinational administration, perhaps run by the United Nations, would be 
considered to replace the U.S. civil authority. 

“We have a load of plans that could be carried out by an international 
group, a coalition group, or by us and a few others,” one senior U.S. official. 
President Bush, the official said, doesn’t want to close options until the par- 
ticipants in a military action are knowh and the actual postwar situation in 
Iraq becomes clear. 

The administration has been under strong pressure to demonstrate that 
it has a detailed program to deal with what is expected to be a chaotic and 
dangerous situation if Hussein is removed. The White House plans to brief 
Congress and reporters on more details of the plan next week. 

No definitive price tag or time limit has been put on the plan, and offi- 
cials stressed that much remains unknown about the length of a potential con- 
flict, how much destruction would result, and “how deep” the corruption of 
the Iraqi government goes. The administration has declined to estimate how 
long U.S. forces would remain in Iraq. Undersecretary of State Marc 


PLANNED FOR IRAQ 

Grossman told Congress last week that it might be two years before the Iraqis 
regained administrative control of their country. But “they’re terrified of being 
caught in a time frame,” said retired Army Gen. Barry R. McCaffrey, one of 
a number of senior military and civilian experts who have been briefed by the 
Pentagon on the plan. “My own view is that it will take five years, with sub- 
stantial military power, to establish and exploit the peace” in Iraq. 

Although more than 180,000 U.S. troops are on the ground in the 
Persian Gulf region, U.S. officials continued to emphasize that President Bush 
still has not made a final decision on whether to go to war. Negotiations at the 
United Nations, where Bush is seeking a new Security Council resolution 
declaring that Hussein has violated U.N. disarmament demands and author- 
izing that he be disarmed by a U.N. multinational force, are at a delicate stage. 

A majority of the council’s 15 members have said they believe a decision 
on war should be delayed while U.N. weapons inspections, launched in 
November, continue. Bush has said that, if necessary, the U.S. military and a 
“coalition of the willing” will disarm Iraq without U.N. approval. 

The administration also is continuing discussions with Arab govern- 
ments about the possibilities of exile for Hussein and several dozen of his fam- 
ily members and top officials. Sources said, however, that even if Hussein and 
a small group of others were to leave, uncertainties about who would remain 
in charge, the need to destroy weapons of mass destruction, and concerns 
about establishing long-term stability would likely lead to the insertion of 
U.S. troops there in any case. 

Among the other parts of the post-Hussein plan: 

• Iraqi military forces would be gathered in prisoner-of-war camps, with 
opposition members now receiving U.S. training at an air base in Hungary 
serving as part of the guard force. The Iraqi troops would be vetted by U.S. 
forces under Franks’s command, and those who were cleared, beginning with 
those who “stood down or switched sides” during a U.S. assault, would receive 
U.S. training to serve in what one official called a “post-stabilization” force. 

U.S. forces would secure any weapons of mass destruction that were 
found, including biological and chemical weapons stores. “At an appropriate 
time,” an official said, the United Nations Monitoring, Verification and 
Inspection Commission and the International Atomic Energy Agency, who 
are conducting U.N. -mandated weapons inspections in Iraq, might be 
brought in to examine weaponry, scientists and documentation. 

In addition to the consultative council, an Iraqi commission would be 
formed to reestablish a judicial system. An additional commission would write 
a new constitution, although officials emphasized that they would not expect 
to “democratize” Iraq along the lines of the U.S. governing system. Instead, 
they speak of a “representative Iraqi government.” 

Officials said the decision to install U.S. military and civilian adminis- 
trations for an indeterminate time stems from lessons learned in Afghanistan, 
where power has been diffused among U.S. military forces still waging war 
against the remnants of the Taliban and al Qaeda, a multinational security 
force of several thousand troops in which the United States does not partici- 
pate, and the interim government of Afghan President Hamid Karzai. 

The administration is particularly keen on averting interference by other 
regional powers, and cites the “ability of people like the Iranians and others to 
go in with money and create warlords” sympathetic to their own interests, one 
official said. “We don’t want a weak federal government that plays into the 
hands of regional powers” and allows Iraq to be divided into de facto spheres 
of influence. “We don’t want the Iranians to be paying the Shiites, the Turks 
the Turkmen and the Saudis the Sunnis,” the official, referring to some of the 
main groups among dozens of Iraqi tribes and ethnic and religious groups. 

A similar anxiety led to the decision to prohibit the Iraqi opposition 
based outside the country from forming a provisional government. The chief 
proponent of that idea, Ahmed Chalabi, head of the Iraqi National Congress, 
was informed this week that any move to declare a provisional Iraqi govern- 
ment “would result in a formal break in the U.S. -INC relationship,” the offi- 
cial said. 


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A NEW DEBATE OVER SAFETY IN SUCKING: 
THE STATE OF ORAL SEX 


by Duncan Osborne 

How safe is oral sex? That question has 
been on the tip of many tongues ever since 
AIDS raised its deadly head. Now one expert 
says that fellatio may not be risky at all, at least 
when it comes to spreading HIV. 

Dr. Jeffrey Klausner, who heads the sexu- 
ally transmitted disease prevention effort at the 
San Francisco Department of Public Health, 
bases his conclusion on a new study of 239 gay 
or bisexual men who reported no anal or vagi- 
nal sex and no injection-drug use in the prior 
six months. Ninety-eight percent said they had 
given head without condoms. Twenty-eight 
percent said they knew their partner was HIV- 
positive, and of those, 39 percent said they had 
swallowed semen. None of the men became 
infected. 

The risk of HIV transmission via oral sex, 
Klausner maintains, “is very, very, very, very, 
very low and may be zero.” 

A 2002 Spanish study supports Klausners 
view. Researchers there followed 110 women 
and 25 men, ah HIV-negative, for 10 years. 
Each participant had an HIV-positive partner. 
The investigators estimated that over the course 
of the study, the couples engaged in 19,000 acts 
of unprotected fellatio or cunnilingus. None of 
the negative partners converted. 

A 1998 Emory University study analyzed 
24 epidemiological investigations of HIV trans- 
mission via oral sex among heterosexuals or gay 
men. Generally, oral sex was not found to be a 
risk factor, though five of those studies con- 
cluded that among some gay men and crack 
users, sucking did transmit HIV. 

“Yes, it does occur,” says Richard 
Rothenberg, a professor at Emory University’s 
School of Medicine. “It’s probably a relatively 
small contribution to the epidemiology of HIV 
transmission.” 

Still, no piece of good news goes undebat- 
ed. 

Klausners comments set off Rex Wockner, 
a journalist whose syndicated news stories and 
commentaries have appeared in the gay press 
for 18 years. “I know four people who I believe 
when they tell me that they seroconverted from 
sucking,” Wockner told the Voice. Of those 
four friends, Wockner notes, one is now dead. 

“It’s great news that guys in San Francisco 
are out there sucking dick and they are all still 
negative,” Wockner says. “The unfortunate 
thing about this study is that nobody asked 
them how many times they did that. Doing it 
only once and staying negative doesn’t prove a 
thing.” Kimberly Page-Shafer, the San 
Francisco study’s lead author, did not return 
phone calls from the Voice. 

There is disagreement even within the San 
Francisco health department. “I certainly agree 
that the risk from oral sex is very low,” says 
director Mitchell H. Katz. “The part of the 
message I don’t think is beneficial is the part 
that says ’and may be zero.’ I myself would not 
have oral sex with someone who was positive or 
of an unknown status.” Katz says he tells people 
they have a f-in-2500 chance of getting HIV 
from unprotected oral sex with ejaculation. 

A 2000 study from the University of 


California San Francisco, San Francisco 
General Hospital, and the Centers for Disease 
Control and Prevention tends to support Katz. 
Investigators interviewed 102 HIV-positive 
men, and eight of them reported that unpro- 
tected oral sex was their only risky activity. 

The Emory University study included case 
reports, dating from 1984 to 1993, document- 
ing HIV transmission within lesbian couples 
that practiced oral sex. But a 1994 study that 
followed 18 lesbian couples in which one part- 
ner was HIV-positive concluded that the risk of 
transmission was “nonexistent.” 

Few studies have investigated heterosexual 
women and HIV transmission via oral sex. The 
issue is far from academic, since heterosexual 
transmission accounted for 15 percent of AIDS 
cases diagnosed in New York State in 1999, the 
latest year for which complete data is available. 
Of the more than 41,000 AIDS cases in the 
state to date, nearly 13,000 are attributed to 
heterosexual transmission and more than a 
third of these were diagnosed between 1996 
and 1999. Women are twice as likely as men to 
make up these heterosexual cases. Yet neither 
the city nor the state have studied the method 
of sexual transmission among heterosexuals or 
gay men. 

•••• 

Most AIDS groups agree that oral sex is a 
low-risk activity, but some, such as Gay Men’s 
Health Crisis, betray a certain agnosticism. 
GMHC’s 1996 pamphlet on oral sex is titled 
“To Suck or Not to Suck.” It explores the pros 
and cons of fellatio and tells readers, “Only You 
Can Decide What You Put in Your Mouth.” In 
the pamphlet, GMHC rates oral sex “low risk.” 
In Canada, health officials describe the risk 
from fellatio as “negligible.” 

That may be, but it is indisputable that 
oral sex can transmit syphilis, gonorrhea, her- 
pes, warts, and other diseases. (The city’s health 
department recently noted a 50 percent increase 
in syphilis cases, mostly among gay men.) 
However, when it comes to HlV, researchers 
have two different missions. One is to docu- 
ment risky behavior for individuals; the other is 
to establish which practices could change the 
course of a deadly epidemic. Some researchers 
argue that if gay men adopted fellatio as their 
sole sexual behavior, the AIDS epidemic in that 
population would disappear. 

But here, too, there is disagreement. Jim 
Koopman, a professor of epidemiology at the 
University of Michigan and a highly regarded 
AIDS researcher, takes the risk of HIV trans- 
mission through oral sex among gay men seri- 
ously. He thinks the statistics used to bolster the 
claim that sucking is safe are faulty. “A standard 
analysis will not show the effects of oral sex,” 
Koopman says. That’s because, if an infected 
person is having both anal and oral sex, most 
researchers assume that anal sex is the source of 
the infection. Therefore, the effect of fellatio is 
masked. 

“Oral sex plays a key role,” Koopman 
argues. “My feeling is if we are going to control 
HIV, we’re going to have to take some actions 
along the line of stopping transmission from 
oral sex.” 


US TROOPS ‘TO FIGHT’ 
IN PHILIPPINES 

US troops were first deployed in 2002 

Special forces soldiers — supported if needed 
by marines — will be used in an offensive against 
the rebel Islamic group Abu Sayyaf on the south- 
ern island of Jolo, the officials said. 

Washington says the troops will be under 
Philippine command but will be allowed to fight. 

The issue is sensitive in the Philippines, a 
former US colony, whose constitution bans for- 
eign troops from fighting on its soil. 

Philippine officials played down the reports, 
describing it merely as an extension of an existing 
program under which US forces train their 
Philippine counterparts. 

The BBC’s correspondent at the US defense 
department, Nick Childs, says the operation is a 
significant escalation in US military co-operation 
with the Philippines. 

The deployment will include about 350 spe- 
cial forces soldiers and 400 support personnel on 
the ground with 1,000 marines stationed offshore 
who could be called in at short notice. 

The operation could start as early as next 
month on Jolo, which is a stronghold of Abu 
Sayyaf — a group denounced by the US as a ter- 
rorist organization with past links to al-Qaeda. 

Conflicting views 

A US defense official said of the deployment: 
“This is different. This is an actual combined 
operation, and it is US forces accompanying and 
actively participating in Philippines-led offensive 
operations.” 

But a spokesman for Philippine President 
Gloria Arroyo insisted the program was merely the' 
latest part of the program under which US troops 
have been giving advice on anti-terror tactics. 

Ignacio Bunye said the role of the US forces 
was still being worked out, but a constitutional 
ban on foreign troops fighting on Philippines soil 
was still in force. 

He said the operation would be similar to 
that conducted on Basilan last year against Abu 
Sayyaf, which is believed to have about 500 mem- 
bers. 

Then US troops accompanied local soldiers 
in missions against the rebels, who are best known 
for their kidnapping-for-ransom operations, but 
who also want Muslim autonomy in the south of 
the overwhelmingly Catholic country. 

“In other words, no combat troops. 
Everything will be for training and advice,” Mr 
Bunye said. 

The US put a $5m bounty on the heads of 
Abu Sayyaf ’s leaders for the murder of two 
Americans in a hostage crisis that ended last year. 

Power out 

On Friday, there was fresh violence in the 
south of the Philippines when two small explo- 
sions outside a crowded shopping mall injured at 
least three people. 

The blasts hit a mall in Koranadal city in 
South Cotabato province. 

A power line was also bombed on the island 
of Mindanao. 

An army spokesman said he believed the 
attack was the work of another Muslim rebel 
group, the Moro Islamic Liberation Front. 

On Thursday, at least 16 people were killed 
in two attacks blamed on the MILE 




CONSERVATIONISTS WARN OF BUSH BUDGET TRICKS 


By J R- Pegg 

WASHINGTON, DC (ENS) — Conservationists are warning that the Bush 
administrations new budget proposal is littered with broken promises, and 
dramatically under-funds the agencies responsible for managing the nation’s 
public lands and natural resources. Environmental groups said today they 
believe the administration’s rhetoric of increased spending for the national 
park system, for land conservation efforts and protection of the nation’s 
forests, oceans and wildlife, is disingenuous and does not match the budgets 
reality. 

Analysis of the budget trends “reveals the hidden anti-environmental 
i' agenda of this administration,” said Wesley Warren, National Resources 

Defense Council (NRDC) senior fellow for environmental economics. 

The administration’s budget presentations focused on comparison to 
its 2003 requests rather than the 2002 appropriated levels, Warren 
explained, in order to disguise the size of its spending cuts. 

President George W. Bush has concluded that no more than a four per- 
cent increase can be justified for the entire federal budget. Yet the overall 
budget for the environment, according to the NRDC, is down $1.6 billion 
or six percent, compared to the money appropriated in 2002. 

When inflation is factored in, the decrease in environmental spending 
jumps to $2.2 billion. 

Critics point to the administration’s presentation of its funding for the 
Interior Department’s Land and Water Conservation Fund (LWCF) as a 
specific example of how it is misrepresenting spending levels. 

Interior Secretary Gail Norton promoted the Bush administrations 
claim that the new budget will fully fund the $900 million LWCF, a trust 
fund that takes revenues from oil and gas drilling in the Outer Continental 
Shelf to pay for land acquisition to protect land and water resources. But the 
$900 million figure for LWCF includes funding for some 1 5 unrelated pro- 
grams and their budgets, masking a 50 percent cut in real funds available to 
LWCF. 

“Fully funding the Land and Water Conservation Fund was one of the 
precious few environmental promises by the Bush campaign, and they can’t 
even seem to keep that one,” said Defenders of Wildlife president Rodger 
Schlickeisen. “It’s become a sad routine for this administration to go out of 
its way to undermine wildlife and environmental protection, so it’s unsur- 
prising that their budget springs from the same mold.” 

No New Money for Parks 

During his campaign, Bush also pledged to eliminate the $4.9 billion 
maintenance backlog at the national parks by 2006. The president’s pro- 
posed budget for the National Park Service (NPS) is $2.4 billion, up $8.3 
million from the 2003 request. But NPS funding for land acquisition and 
state assistance is down $47.4 million. 

Conservationists argue that the NPS is still in desperate need of 
increased operating funds and money to reduce its maintenance backlog. 
On average, U.S. national parks are operating with only two-thirds of the 
needed funding, according to the National Parks Conservation Association 
(NPCA). 

Since he took office, Bush has only proposed an additional $366 mil- 
lion for maintenance, according to Blake Selzer, legislative analyst for 
NPCA. 

“The administration is walking away from its commitment to the pub- 
lic and to our parks,” added NPCA president Tom Kiernan. “The president 
promised the American public that he would ’restore and renew’ America’s 
national parks, but this budget makes it clear that the administration does 
not intend to keep that promise.” 

Within the fiscal year 2004 budget, the president has requested $1 bil- 
lion for “deferred maintenance.” Yet this pool of money will be used for 
more than just the maintenance backlog; some of it will be used for new 
building construction and new transportation infrastructure. 

“The administration does a good job with their rhetoric,” Selzer said. 
“But you have to step back and peel back the rhetoric to see that this is not 
much of an increase.” 

BLM Budget Eyes ANWR 

The Bureau of Land Management (BLM) would receive an increase of 
$42.8 million under the president’s spending plan, which according to BLM 
Director Kathleen Clarke reflects that the department is “more committed 
than ever to our multiple use mission.” 

But conservationists argue that the primary mission of BLM under the 
Bush administration is to open public lands to oil and gas development, 
mining and logging. The budget contains speculative revenues of $1.2 bil- 
lion from drilling within the Arctic National Wildlife Refuge (ANWR), 
despite fierce opposition to the plan from many Congressional Democrats 
and some Republicans. 

“By including the speculative revenues from proposed lease sales in the 
Arctic National Wildlife Refuge in his FY 2004 budget blueprint, the pres- 
ident has signaled a stubborn unwillingness to accept the clear opposition of 
the American people and bipartisan defeat of this scheme by the Senate last 
April,” said Schlickeisen. “Instead, this budget tracks the fondest wishes of 


the administration’s big oil constituency.” 

Some $10 million in additional money is earmarked for oil and gas 
production on BLM lands, and the budget contains a pledge by BLM to 
process 90 percent more applications for drilling permits and an additional 
400 leases for oil and gas development. Land acquisition funds at BLM are 
cut by some $21 million, putting them close to 50 percent below enacted 

2002 levels. 

Wildfires and Endangered Species 

The total firefighting budget within the Interior Department and the 
Forest Service is $2.2 billion, an increase of $219 million over last year’s 
request. But this is still drawing the ire of many conservationists, who see 
misguided priorities within the administration’s wildfire policy. 

The Forest Service’s budget includes an additional $3 million for its 
tree thinning program, and critics argue the Bush administration’s so called 
Healthy Forests Initiative is a thinly disguised payout to the logging indus- 
try. 

After analyzing the details of the budget, Bonnie Galvin, director of 
budget and appropriations for The Wilderness Society, said there is “only a 
one percent increase to reduce threats upfront and this money is going to get 
directed to thinning of forests in remote areas far from communities.” 

The president’s spending proposal for the U.S. Fish and Wildlife 
Service is $1.3 billion, only $4 million above the 2003 request. Funding for 
the operations and maintenance of the National Wildlife Refuge System 
received an increase of $25.5 million, putting its budget at $402 million. 

Yet land acquisition, a critical component to protect National Refuges, 
is cut by $29.6 million from the 2003 request and some $56 million from 
the 2002 enacted total. State and tribal wildlife grants issued by the U.S. 
Fish and Wildlife Service are cut by just $17,000 from last year, but when 
compared with 2002, this cut rises to some $26 million. 

Cuts to state grants seem at odd with the Bush administration’s ideol- 
ogy of increasing the role of states in environmental protection, Galvin said, 
and “this is the kind of program you’d think they’d really like and support.” 

“This budget will leave America with smaller, more degraded wild 
lands,” Galvin added. 

The president has increased the money available for administering the 
Endangered Species Act (ESA) by $3 million compared to his 2003 request. 
The total of $128.7 million is still well below what even the agency estimates 
it needs to administer ESA. 

U.S. Fish and Wildlife Service has estimated that its endangered species 
listing program faces a back log of some $137 million, with more than 250 
species awaiting protection under the Act. 

The U.S. Geological Survey’s (USGS) budget is proposed at $895.5 
million, up some $28.2 million from last year’s request, but down some $18 
million from 2002 enacted funding. 

Programs for mapping, remote sensing and geographic investigations 
are down $12.6 million from 2002. Water resources investigations face a cut 
of $6.3 million from 2002, but biological research is slated for an increase 
of $2.6 million. 

Fishing for NOAA Numbers 

The budget tricks alleged by conservationists appear to also be present 
in the proposed spending levels for the National Oceanic and Atmospheric 
Agency (NOAA). Administration officials boasted of a $190 million 
increase, which brings the agency’s budget to $3.3 billion. But compared to 
enacted 2002 levels, this increase shrinks to $63 million. 

The National Oceanic Service’s budget is cut some $100 million from 
the 2002 level and the Bush spending plan eliminates the Coastal and 
Estuarine Land Conservation Program. NOAA’s Oceanic and Atmospheric 
Research fares even worse, with proposed spending of $380.6 million com- 
pared to the $383.6 million appropriated in 2002. 

The National Marine Fisheries Service (NMFS), an often criticized 
maligned federal agency, receives an increase of some $30 million over the 

2003 request. But this is a decrease of some $67 million from what was 
appropriated in 2002. 

Although NMFS is known to need improvement in its m.onitoring and 
assessment of U.S. fish stocks, the administration proposes an increase over 
its 2003 request of just $6 million for these efforts. 

“NMFS has responsibility for managing more than 900 fish stocks in 
the U.S. and it has a terrible track record,” said Eli Weissman, ocean gover- 
nance program manager for the Ocean Conservancy, adding that NMFS has 
fully assessed the status of only 23 percent of the 900 U.S. fish stocks. 

Also of concern to conservationists is the proposed $90 million for the 
Pacific Salmon Recovery Fund is $20 million less than what was enacted in 
2002. This is despite campaign prontfises by the president to support a fund 
many believe is critical to restoring salmon habitat up and down the West 
Coast. 

“We are looking at the Bush administration budget cutting five percent 
since last year on the plan to restore salmon,” said Nicole Cordan, policy and 
legal director of Save Our Wild Salmon. “This kind of a reduction shows a 
real lack of support for a program the President, when he was campaigning, 
pledged to fund and support.” 




IMBALANCED SCALES 
IT’S NOT ABOUT ESTRADA— IT’S 
ABOUT A DECADES-OLD BATTLE 
OVER THE JUDICIARY 

So why are Senate Democrats filibustering President Bush’s nomination of 
Miguel Estrada to one of the nation’s most important courts? 

Certainly Estrada has lived an admirable life. He came to the United 
States from Honduras at age 17, graduated from Harvard Law School and 
clerked for Supreme Court Justice Anthony Kennedy. He was an assistant U.S. 
attorney, served as an assistant solicitor general under President Clinton and 
went on to a distinguished law firm. 

To say the guy is no slouch is an understatement. But the fight over 
Estrada’s nomination to the U.S. Circuit Court of Appeals for the District of 
Columbia is not simply about him. It is about a concerted effort to pack our 
courts with representatives of a single point of view. If Democrats just rolled 
over on Bush’s judicial nominations, they would be guilty of oppositional mal- 
practice. 

To understand this battle, you could go back to Richard Nixon’s campaign 
against liberal judges. But let’s just look at what happened to Bill Clinton’s effort 
to get two highly qualified nominees onto the D.C. Circuit. 

Elena Kagan, who served in the Clinton White House, graduated at the 
top of her class at Estrada’s law school and now teaches there, saw her nomina- 
tion languish in the Republican Senate for 18 months. Allen Snyder clerked for 
that well-known left-winger, Supreme Court Chief Justice William Rehnquist, 
and was also at the top at Harvard Law School. His nomination languished for 
15 months. 

If Republicans believe in voting for quality — their argument for 
Estrada — why didn’t they confirm Kagan and Snyder? The answer is obvious: 
We have before us, sadly, a fierce political struggle for control over the courts. 

It’s not good enough to say that the way out of this politicized process is 
for Democrats to ignore the past and cave in to the Republicans. To do that 
would be to reward a determined conservative effort to control the courts for a 
generation. Stage One involved obstructing Clinton’s nominees. Stage Two 
involves using any means necessary — including outrageous charges of ethnic 
bias — to ram conservative choices through. 

The stakes go beyond any single nominee. Do we want courts entirely 
dominated by one side, or do we want a fair and balanced judiciary? 

Consider these statistics, gathered by the Democratic staff of the Senate 
Judiciary Committee. There are 13 circuits: 11 regional, plus the D.C. Circuit 
and the federal court that handles specialized cases. If all of Clinton’s nominees 
had been approved, the circuits would have been evenly balanced in partisan 
terms by the time he left office. Six would have had majorities appointed by 
Democratic presidents, six by Republicans, and one evenly split. 

But if Bush succeeds in filling every open seat, some of them vacant 
because Clinton nominees were blocked, II of the 13 circuits will have 
Republican-appointed majorities. In eight of the 13, Republican nominees 
would have majorities of 2-1 or more. Is that a formula for careful, balanced 
decision-making? 

To push attention away from this fundamental question, Republicans 
who say they don’t want a politicized nominating process — and who regularly 
accuse Democrats of ‘playing the race card’ — are doing all they can to turn the 
Estrada fight into an ethnic imbroglio. 

“If we deny Mr. Estrada the position on the D.C. Circuit, it would be to 
shut the door on the American dream of Hispanic Americans everywhere,” Sen. 
Chuck Grassley, R-IoWa, said in January. Last year, Republican Sen. Trent Lott 
of Mississippi said of the Democrats: “They don’t want Miguel Estrada because 
he’s Hispanic.” 

Never mind that eight of the 10 Hispanic appellate judges were appoint- 
ed by Clinton. And never mind that Republicans had no problem blocking 
such Hispanic Clinton nominees as Enrique Moreno, Jorge Rangel and 
Christine Arguello. 

But the Democrats will not win this argument if they just focus their 
opposition on individual nominees. The point of filibusters should be to seek a 
solution involving consultation across party lines. The goal would be moderate 
judges that both sides could agree on or, failing that, balanced slates of judges 
who could guard the country against a judiciary utterly dominated by one 
party. * 

Orrin Hatch, the Republican chairman of the Senate Judiciary 
Committee, is frustrated by what the Democrats are doing. “The system’s going 
to be irreparably damaged if we allow this to go on,” he said recently. A fair 
point, except that the system was damaged long ago, and the solution isn’t to 
ram through Republican nominees. It’s to seek compromise, balance and mod- 
eration. Then someone like Miguel Estrada might get though without any 
fighting at all. 

E.J. Dionne, Jr. is a syndicated op-ed columnist for the Washington Post. He has 
been a frequent commentator on politics for National Public Radio , CNN and 
NBC’s “Meet the Press. ” His second book, “They Only Look Dead: Why Progressives 
Will Dominate The Next Political Era” (Simon & Schuster), was published in 
February 19%. 


BUSH’S MACHO POSTURING ON GERMANY 

Published by the International Herald Tribune 
by William Pfaff 

PARIS — The second Bush administration is devoted to macho posturing 
with little consideration for the consequences. This could turn the trans- 
Atlantic confrontation into something for which Washington may even- 
tually be very sorry. 

The administration’s effort to intimidate Germany and isolate 
France in the quarrel over military intervention in Iraq backfired on 
Friday at the UN Security Council and in the anti-war demonstrations 
of the weekend. Unless the inspectors find a mine shaft packed with 
drums of anthrax and nerve agents during the next few days! Washington 
is unlikely to win a mandate to go to war. This leaves Prime Minister 
Tony Blair in an extremely difficult situation. He has already dispatched 
British forces to the war. Without a second UN resolution endorsing 
intervention, ordering the troops into action would cause a Labour Party 
revolt. Whether he survives would depend on the war’s outcome. George 
W. Bush and his more hawkish advisers believed that they could bully the 
Security Council’s members and get what they wanted. They confided to 
reporters some days ago that objections by the French were already 
“fixed” and that Paris would fall in line, while the Germans would do 
what they were told. 

France is accustomed to this treatment, but Germany is not. 
Germany is a very complex and in some ways mysterious nation (to 
Anglo-Americans, at least), and the pleasantries of Donald Rumsfeld, 
accompanied by the recent right-wing press campaign against Germany, 
have not only had a damaging effect on German-American relations but 
also have challenged the foundation of modern German foreign policy. 

I was in Germany when Rumsfeld arrived in Munich this month 
after comparing German policy to the policies of Libya and Cuba. A very 
senior retired officer in the German Army (and NATO) asked me, “Why 
are they doing this?” He said: “You Americans have been telling us for 60 
years that we must never go to war. You have made the Germans paci- 
fists. We have accepted that war is never a solution. We believe that even 
more because of our own history. Now you attack us because Germans 
are against this war.” 

He made it plain that he was equally distressed that Germany 
should set itself against the United States. For half a century Germans 
have resolved their fundamental questions of security and “purpose” with 
a dual anchorage in Europe and in alliance with the United States. Until 
now the dual anchorage has remained solid, despite developing tensions 
between the Bush administration and Western Europe as a whole on a 
range of political, environmental and economic issues. 

The anchorage has also survived persistent Gaullist arguments that 
sooner or later Europe will have to declare its independence of the 
United States. This idea never found much support in Germany because 
it raised possibilities that the Germans do not want to contemplate. 

A split between Europeans and this American administration has 
nonetheless been coming. It became inevitable when Washington 
declared its own national strategy to be “full-spectrum domination” of 
the world’s affairs. 

The split is potentially most dangerous in Germany. Voters clearly 
chose pacifism over “preventive war” five months ago, in the parliamen- 
tary elections. Chancellor Gerhard Schroder might then, or since, have 
challenged his electorate, but had he done so (and still been elected) he 
would today be in the same position as Tony Blair and Silvio Berlusconi 
and Jos£ Marfa Aznar, who are all seriously isolated from majority opin- 
ion. 

The disagreement over Iraq did not have to be made into a bitter 
German-American confrontation. Alas, the Bush administration is led by 
bullies convinced that threats, denigration, personal attack and efforts to 
split the European Union are the way to deal with allies. 

Defense Secretary Rumsfeld now is reported (by The Observer in 
London) to have told the Pentagon to prepare “to end military and 
industrial cooperation” between the United States and Germany, so as to 
“harm the German economy” and punish Germany’s “treachery.” Such is 
the Bush government’s conception of alliance leadership. 

As an ironical coda, it surely will not have escaped readers that the 
insults currently flung at the French, Belgians and Germans as “cowards” 
come from an American administration whose principal figures are, with 
one exception, draft dodgers, and from journalists who, if they respect 
the current advice of the U.S. government, will have spent recent days 
hiding under their beds surrounded by canned provisions, in duct-taped 
rooms, waiting for Osama bin Laden to cause the sky to fall on them. 



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ORKYLYJ 


t ..UPEBOr THE 
fUC^N ARSEHOi.ES 

presents: 


After the fall of the Berlin Wall, 
Ceaucescu's degenerative neuropathy, and 
the revelation that the Stasi was spying 
on itself more than on anyone else, the 
Eastern European, and especially 
Romanian, hardcore scene had nowhere to 
go but up. 

Through the Mongolian back door of 
samizdat tape trading, Romanian diehards 
were listening to bands such as The Clay 
and P-Nissarna as early as *87 according 
to the 'zine Tiylizy & RucLnrni (“Studs & 
Citronella Candles"). However, official 
state repression did not allow live hous- 
es to put on shows with electric guitars. 
Despite a collaborationist streak among 
some punx in Romania, who attempted to 
mix acoustic guitars and the traditional 
Romanian clefiguu (a seven-stringed wind 
instrument) with lyrics about sniffing 
Turkish wallpaper adhesive, the true punx 
underground only laced its boots higher 
and prepared for battle. 

When Disputyritu played its first 
show in ’89, on the eve of the collapse 
of the Eastern bloc, several collabora- 
tionist hippie-punx are said to have syn- 
coped when they heard the awesome power 
of the d-beat. This show was a home 
brewed vodka-fueled orgy of destruction 
and licentiousness. Even some secret 
policewomen in the crowd are said to have 
ripped their undergarments off and eaten 
them in a traditional Romanian show of 
respect for the awesome fury of 
Disputyritu. The Romanian hardcore scene 
would never be the same. Some optimists 


even think that the revolution against 
the frightful communism of late '80s 
Romania would not have succeeded if not 
for Disputyritu. 

Within a few weeks, Selfish Records 
of Japan offered Disputyritu a deal which 
would have resulted in a split CD with 
Death Side. Unfortunately, Romania was 
still an unforgiving and rough country 
even for its heroes. Disputyritu* s gui- 
tarist lost an arm while baling hay out- 
side his grandfather's recently de-col- 
lectivized farm and the band sadly had to 
wire their British friends Chaos UK and 
ask if they could take Disputyritu* s 
place on the split CD. 

Luckily, by this point, bands had 
begun all over Romania. The underground 
was exploding at its seams with mohicans, 
herberts and skins, all influenced by the 
hardcore greats of yesteryear such as 
Tattooed Copcocks of Sweden and Plague of 
Cleveland. New bands such as Tloutkopiri 
Romanischu and Cqueu 89 began a rigorous 
touring schedule. They played every ham- 
let in the country. Cqueu 89 apparently 
had a large following among the horse 
breaker punx of Southeast Romania. As 
most of ny readers surely know, horse 
breaker punx are some of the wildest men 
and women in the scene, so we can only 
imagine what the gigs must've been like 
when Cqueu 89 came through town. Reports 
of acid poured on the faces of cops try- 
ing to lower the volume on the 
Marshallski stacks are certainly unexag- 
gerated. 


It was in the summer of *92 that 
Qrkylyu formed and reasserted the d-beat 
as the dominant rhythm of the Romanian 
scene. We all know that Germany's 
Gravesdout was well-respected throughout 
Europe despite revelations in spring *92 
that second guitarist Aldo was honey- 
mooning in the Leipzig symphony orches- 
tra as a tympanist. Nevertheless 
Gravesdout asked Qrkylyu to tour 
Scandinavia with them that fall. Some 
cynics might think of this as Gravesdout 
attempting to regain the primacy they had 
over the European scene a few years ear- 
lier. I personally think it was a gesture 
of goodwill toward comrades who lived for 
the core as they did. As the tour was set 
to begin, Orkylyu's drummer, Pightfist, 
fell gravely ill and lost his sight. 
There was no way they would miss this 
tour, so they asked Disputyritu' s drum- 
mer to come out of retirement and fill 
in. What they forgot to ask him was, 
“Have you been living in Connecticut 
since the band broke up?" Of course, the 
answer was yes. It was Orkylyu's first 
show in Goteborg when they were booed off 
the stage and nearly killed by Jan Jutila 
for playing the infamous State of Fear D - 
beat! I cannot express the horror of the 
punx as they heard their favorite 
Romanian thrashers mangle the beloved 
beat by using double-kickdrum and hi-hat. 
Arghh. . . 

Stay tuned for: Part Two of the 
History of Romanian Hardcore written by a 
real live Romanian. 





[Interview by Jkeon c. 

|2«yr'*. 


r der,l 
Photo by Dana Cox.l 


| ypp ? h mj Jbm, what's up? Plrftt off 1*4 like to soy 
] for t^«g tha tins to do this latsrrisw. I'm 

j sort at Isast sons of oar rsadsrs ars f sa l li a r with 
yoar work, bat for srsryons slss, giro as a llttlft 
history on tbs Tarloos projects yoa'vft been 1btoXt#4 | 
with. 

Jon: I am currently singing for Patheticism and in 
the past I have been the vocalist for Seven Foot 
Spleen, Hanging Rotten, and Stone of Abel. I also run | 
my own record label , Meconium Records . 

MRR: Despite as what could be seen as a relatively I 
I short lifespan, Seven Toot Spleen has been a big | 
Influence on a lot of sludge bands that have followed* 

I How does It feel to be associated with sonethlng that I 
! has made that **** of Iqpact within the scene, or has* 
;n*t It really been brought to your attention that [ 

I much? 

Jon: I never knew we were influential at all until | 

I very recently. It's very flattering and weird. 

[ MRR: I knew you did some vocals on one of Stone of I 
libel's demos, bat never heard yoa work with them 
I again. How did yoa get involved with them and how come [ 
i the epUt? 

Jon: After Seven Foot Spleen I moved away from the I 
area for awhile and when I moved back I joined Stone 
| of Abel. At that time the band was made up of all the 
original Seven Foot Spleen lineup. I recorded with* 
SQA one time. One of those songs appears on the 
Residue/SQA split 7" Berserker Records put out. I 
left the band after we did a weekend with Leechmilk. 
We didn't play very well and I just wasn't in to it 
anymore. 

MRR: I ms a big fan of your work with H a nging Rot tan, 
but I find that a lot of people haven't even heard of 
then* fell us a little bit about Hanging Rotten, who's 


J In the band and some your releases? How did H a nging * 
Rotten form? 

Jon: Hanging Rotten started right after I left Stone 
of Abel. In the beginning it was just me and ex- SFS 
guitarist Chad Davis. We recorded a demo as a two- 
piece. We eventually wanted to play out so we started 
I looking for a guitarist. We couldn't find anyone so we 
J turned to Keith Bolick who played bass on SFs's Enter 
Therapy CD. With Keith we recorded songs for the mini 
I CD that's out on Voice Productions Records out of 
Malaysia. Villain Records is releasing a 7" version of 
the same stuff minus the first song here in the USA. 
The demo plus one song was released as an LP by Putrid 
Filth Conspiracy in Sweden. I released two HR songs on 
I my Transcendental Maggot coop. A couple songs are 
going to be on the next Paranoize comp too. 

MRR: It Rotten ft till active aft a band? 

Jon: Nope. 

| MRR: Vow year meat recant project 1ft Fathetlclftm, and 
I'm dying to hear ftome of the new material* Sell u* a 
| little bit about Fathetlclftm* Scott from Stone of Abel 
j le In that* right? I remember him telling mo *ome thing 
about that awhile back 

I Jon: Patheticism was just going to be a one off thing. 

I found out Very Small Records was doing another 
I Prinking Songs comp and thought it'd be great to be on 
it. SFS had a song on the Wood Panel Pacer Wagon With 
I Mags comp Very Small/Too Many put out. I'd talked to 
Scott about jamming sometime or something I think. 
Scott is one of my all time favorite bassists. I've 
known our guitarist Cory for a long time; since he 
played bass in a band called PUJ-who, by the way, were 
an awesome and totally original noise rock trio from 
Hickory NC around the same time SFS formed. Cory also 
plays bass for Black Iron Prison with our drummer 
Dave. They were both in Josey Wales too, who also 
appear on the comp I released. We ended up getting 



rejected for the drinking comp but I heard about some 
other comps and we just kept at it and here we are. I 
don't know how I would describe Patheticism. . . heavy 
and sludgy but noisy and sloppy punk too. This is the 
most fun I've had in a band so far! 

MBR: What are your plana with Pathetic lam? Any plana 
on recording a fall length or anything like that yet? 
Jon: No plans really. That's part of the fun. We just 
recorded. We're talking about putting out maybe a 7 H 
or a split 7 H * 

MBR: Hoe hae the reaponae been for Patheticism thua 
far? I knew you guya were doing some touring and waa 
wondering how that* a been going ao far. 

Jon: We've only played out a few times, but so far the 
response has been good. 

MBR: In addition to all the different banda you've 
been Involved with, you alao have a label Meconium 
Becorda. Give ua aome hlatory on your label. Do you do 
It pretty much youreelf , or do you have aome help In 
running It? 

Jon: I started Meconium Records right after I left 
SFS. My first release was a split 7 H with SFS and 
another area band Kanker. Kanker was the band Scott 
formed after he left SFS. Next was the Astrid Oto S/T 
7 M . Right around that same time I released a 7 1 ' for 
Algodon. This was a split release with Bottom Feeder 
Records. Algodon was Chad Wyrick and Josh Martin from 
SFS. I still have a few of these in stock I think. 
This is an awesome record. Total early 90s metallic 
hardcore like early Sleep meets Rorschach. Probably my 
favorite release so far. And yes, Algodon is Spanish 
for "cotton". You'd have to ask them about that. After 
that was the Insurgent 10". This was a joint effort 
between four different labels. The Transcendental 
Maggot comp cd was next and then, the Hawg Jaw/Face 
First split 7 " • Both of these were split releases with 
Riotous Assembly Records. Next up is the CD version 
of Hawg Jaw's Believe Nothing LP and a Mass 
Separation 7" • The label is all me. No partners, no 
employees, no money. 

MBR: How profitable la naming your own label? I've 
beard alot of mixed things about It and It's some- 
thing I've been thinking of starting up myself. Any 
chance that any possible Patheticism releases will 
appear on your own label? 

Jon: Profit!?! What's that!?! The Patheticism 7" will 
most likely be a Meconium release whenever I can 
scrape together enough money to do it. 

MBR: I meant to get to this question earlier, but It 
just came to me now. I was wondering shat bands and 
music have Influenced you and your vocal style most. 

Jon: Some of my favorite vocalists are Blaine from The 
Accused & The Fartz, David Yow of the Jesus Lizard, 
Simon Bob Sinister when he sang for COC, Mike Hard 
of the God Bullies & Thrall, and that guy who 
sang for Iowa Beef Experience. It's 
a mixed bag of influences. 


MBR: Speaking of vocals... how do you do It? You have 
a really sick, low tone to your vocals that Is easi- 
ly recognizable. Is there anything you do to keep your 
throat In top condition? 

Jon: My throat is so not in top condition. My doctor 
told me to stop doing this years ago. I'm just hard 
headed. 

MBR: I was wondering what else you do In addition to 
your music and running your label? Do you have anoth- 
er job outside of all the different bands? 

Jon: I'm in school right now and I'm married to a won- 
derful woman and I have a cat and a dog. Normalsville! 
MBR: Well JOn, I'd like to say thanks a lot for tak- 
ing the time to do this Interview! You can end this 
however you want, the floor Is yours. 

Jon: Thanx for the interview! Patheticism will be 
playing in Savannah , Georgia February 7th and in New 
Orleans February 8th with Hawg Jaw, Kylesa, & Face 
First. Check out the Meconium Records site. I distro 
tons of other labels' stuff too! 
www.geocities.com/meconiumrec 


t\ZACEA 

feLACW- l 



MRR-B: Ok let’s give the intro. How did all this 
crap start? 

Noriko: When I moved here from Japan, I wanted to 
start a band, so I started a band with these two crappy 
musicians. 

Josh: Josh and Kim... 

Noriko: No! The original girls I started the band with, 
we sucked but it was fun because. . . 

MRR-B: ...because you were in a band. Did you 
play shows with them? 

Noriko: No, I met Kim before our first show. She auditioned for the 
band, and as soon as I saw her I wanted to be in a band with her. 

Kim: Wahhh! (Pretending to cry). 

Noriko: So I decided to kick out the original guitarist and she gave me 
a grunge kick. 

MRR-B: What’s that? 

Noriko: A kick with holes in her jeans. She didn’t know how to play 
power chords. She was like, “Noriko, you want me to play with all four 
fingers?” 

MRR-A: Wow, I never played with all four fingers. 

MRR-B: I know a girl that likes that sorta stuff! 

MRR A: Yeah, she’ll be selling our T-shirts in LA. 

MRR-B: When did you live in Japan? 

Noriko: I was bom in LA and I lived in Japan from when I was four ‘til 
high school. I went to elementary school in New York. 


The AMAZOMBIES ^reathreepiecepunk 
This interview was done in Kim-s house 

in Seattle by Sheeps ^ Ball 

Wilentz 


MRR-B: Is that why you don’t speak 
Engrish? 

Noriko: Herro? I went to school in Westchester County. 

MRR-S: Do they make fun of the way you speak in Japan? 

Noriko: Yes! Oh, not in Japan, the band makes fun of me. They think 
I’m an American in Japan and they think I’m Japanese here. So I have 
no place to go... 

Kim: I don’t think you’re Japanese. You’re totally American. Except for 
that big Cherry-Hawse in yer leg right now. 

MRR-B: You don’t drink enough to qualify as Japanese anyway. 
Noriko: No. If I was true Japanese I wouldn’t have been puking tonight. 
MRR-S: That’s not true. I saw Yoshiko (from The 5, 6, 7, 8s) puke 
a lot! 

Noriko: Oh Yoshiko! I love her, you know her? 





Kim: I think it was is 
^{jSdicine t he cat coughed up. 

&8§&k- 

^(Noriko eats it.)^K 


MRR-S: Yeah, look I have a shirt... no, not 
this shirt, the shirt underneath, look! 

Kim: You’re wearing two orange t-shirts at 
the same time? 

MRR-A: So when did Kim and Josh move 
here from Japan? (laugh) 

MRR-B: What did Josh do before THE 
AMAZOMBIES? 

Josh: Well, 1 used to tune pianos. 

MRR-B: “I was a pool cleaner; I managed 
a little league team” 

(At this point someone farts loud and no 
one owns up to it.) 

Josh: I played guitar in a few bands. This is 
the first time I’ve played drums in a band, and 
I’ve only been playing for two years. (Kim is 
waving a paper plate) Uh, sorry. 

Kim: It really was you? I thought it was 
Noriko! 

Josh: I was playing guitar in this band called 
The Hellcats and I saw them (The 
Amazombies) play with their original drum 
mer. I went to see them again and their drum- 
mer didn’t show up, so I offered to play 
drums for them and Noriko made me buy a 
CD. 


MRR-A: You sold him a CD?!?! 

Kim: He told us he was a guitarist but that he 
never played drums in a band before. We 
were skeptical of that and the fact the he lived 
in Olympia and we lived an hour north in 
Seattle. But Josh promised to drive up from 
Olympia to practice twice a week. Me and 
Noriko asked each other, “Should we make 
him pay for the CD?” So we’re like, yeah 
right, let’s make him pay. He worked hard for 
it! The first test was when he moved to 
Seattle. 

Noriko: The second test was his van broke 
down and he was taking Greyhound twice a 
week to practice. 

MRR-B: So what happened to the first 
drummer? 

Noriko: We were friends. It was fun and all, 
but she quit because she got a better opportu- 
nity. She joined Scared of Chaka as a touring 
bass player, a fill in. 

MRR-S: Scared of Chaka? 

MRR-A: Squeaky just said Scared of 
Chaka like it was Van Halen. 

Noriko: Squeaky, get the fuck out of the 
house! (laughs) The second drummer \Vas a 
little older, and we thought we got along, but 
a lot of what we believed in was completely 


different. Like playing a show and having 
beer thrown all over us, I loved it. She didn’t 
like it. 

MRR-B: What did she want? 

Kim: Respect. 

Noriko: She didn’t care if 200 people showed 
up to the show; she wanted 20 people to kiss 
her ass. 

Kim: She wore a Madonna microphone. Does 
that give you a good picture? 

Noriko: We went on tour with her and we 
bought this big bag of chips at Costco in San 
Diego and we saw this bum begging on the 
side of the road. 

MRR-A: Is that how Josh really joined the 
band? 

Noriko: So I was like, “Maybe we should 
give him the bag of chips.” 

Kim: It was like one of those weird freeway 
on ramps where you have a red light that 
gives you 5 seconds to get on and I didn’t 
know what they were doing back there, so I 
just went and they didn’t get the chips to him 
in pme. 

Noriko: And our old drummer flips out at 
Kim later on. “You are the biggest bitch I’ve 
ever met. You refused to give that bum a bag 
of chips. You walk around pretending to be 
nice but I know you’re the biggest bitch ever. 
Even Noriko seems nicer than you!” 





MRR-A: I can't believe someone who would be so easily olTend- 
ed will still call a person a bum. 

Nonko: What's this? (picks up a random pill she found on the lloor.) 
Kim: I think it was medicine the cat coughed up. (Noriko eats it.) 

MR R-B: OK, its time for you two to tell the real story. Kim needs 
to explain wbv she's so damn punk rock. (This wasn’t really how 
I worded the question, hut it's better than me dragging the story 
out of her.) 

Kim: Ok. I grew up in a very religious household, not like Catholic 
religious either... I played piano. I was always singing and playing 
music. I always wanted to he in a hand and play my own music hut 
my parents were very religious, and that was very had. Your whole 
lile is supposed to he dedicated to God. Music is always good. They 
encouraged me to play piano. In that respect they encouraged me; my 
grandparents bought me my first piano. It wasn't that I wanted to play 
music; it's just that I wanted to make music a priority and this would 
never he allowed. 

MR R-B: You had to make Cod your priority. 

Kim; Oh yeah. Even with college... you did not grow up thinking you 
were going to college. You only do whatever is legally required, like 
high school, and then you spend the rest of your hie serving God. 

MRR-A: In what way? lake evangelical stuff, going door-to- 
door? 

Kim. Yeah, teaching people about our church. So, I ended up netting 
married. See, either you stay in the church and get married or... ft 
was not allowed to he in a casual dating situation by the church. So 
we got married when we were 18 . 

MRR-A: We’re you into punk at this point? 

Kim: Absolutely. 

MRR-S: Were you’re parents supportive of the marriage? 

Kim: Well, they were thinking we were a little young hut they were 
happy that I was marrying Within the church: “Yeah, you’re so young, 
but at least it's not someone who’s Catholic!" So, yes... 

MRR-A: How could you he into punk rock while in this environ- 
ment? Did your parents approve of that? 

Kim: Absolutely not! My brother was grounded for listening to 
Monissey. It was all about just doing what we could without getting 
caught. 





I we w cre living on our own and it became much easier to go see 

bands... but we still ended up going to church because that’s how we 
were both raised, and it was all we knew. And when we were 20, we 
were like, why are we still doing this? We realized that we weren’t 
involved in the church because we we’re into God, it was just how 
everyone was raised. So we got out. We stopped going to church and 
moved to Seattle, and I met the original drummer from the Amazombies. 
Now my parents know what I do; my dad tries to be pretty supportive, 
my mom cries every time she sees me in person. I’ve only seen her a 
couple of times in the past three years for about ten minutes at a time. 
MRR-B: Do you think she’ll get over it? 

Kim: No. She’s extremely religious. She’d rather be faithful to her God 
and her beliefs than have a relationship with her child. 

MRR-S: Was she brought up in the church too? 

Kim: No, she was raised Catholic. When she married my dad when she 
was ...pregnant. Before she was married, she became involved in the 
religion that she is into now. My dad was actually extremely rebellious 
when he was younger and got into the religion later, like the whole time 
I was growing up. Now he’s divorced and he’s not into it at all. But he 
calls me and tells me I should be... 

MRR-B: When I was twelve I told my mom that it wasn’t cool for 
me to go to church with her, so she let me walk to a later mass, and 
I would take the dollar for the basket and bet on football illegally at 
the candy store, (laughs) 

Josh: Yeah, I grew up Catholic too. 

(We all look at Noriko) 

Noriko: I don’t like to talk about it. I’m not over it like Kim is. 

Kim: I’m not over it. 

Noriko: When I think about my parents I always feel like I’m doing 
I something bad. The guilt... 

I Kim: I feel guilt. All the time. 

I MRR-B: The guilt has been instilled in you; it’s not something that 
I just goes away. 

I Noriko: It’s not religious at all. My parents were never religious. I was 
I just born to parents who believe that the happiness of their child will be 
I determined by financial success. 

I Kim: Like, my parents spiritual freak-out is her parents’ 

I education/financial freak-out. 

I Noriko: We’ve been married for five years but my parents won’t meet 
I Chad. It s because he doesn’t have a college degree. I’ve been living in 
I the States for so long they don’t care that he’s not Japanese or anything 
like that... 6 

MRR-S: What do your parents do? 

Noriko: My dad is a very successful businessman and my mom is a very 
successful housewife. Every single song I write, it’s about them. I try to 
get away from their curse but it just doesn’t happen. This is getting 
depressing. 

Kim: I feel like I’m at a shrink. 

MRR-B: So what do you guys think about being a ahem “girl 
band?” 

Noriko: Well, I hate that no one can ever say anything about us that’s not 
just a canned girl band thing. Like some woman in the Chicago Reader 
| compared Kim to Joan Jett. She doesn’t sound anything like Joan Jett. 
The Joan Jett reference is getting old. . . 

MRR-B: I dunno if you should get annoyed with things people write 
about ya, I mean, look at the kind of dorks that go to Journalism 
school. 

MRR-A: I write for like three magazines and look at me, I have 
your puke all over my pants. 

MRR-B: Hey, why is there a picture of your boobs on the cover of 
the record? 

Noriko: I got a tattoo that says “Rock n’ Roll” on my chest and we 
thought it would make the greatest album cover ever. Rock n’ roll boobs! 
But unfortunately, it looked like an ass. 

MRR-B: Boobs look like a butt. Actually, in a lot of animals the 
chest and the butt are symmetrical. A friend of mine hates cleavage 
when it looks like a butt. 

MRR-S: Do you have tattoos like that on your ass too? 

Noriko: Yeah. Like, twenty of them. 

MRR-A: That’s some ass. 


The AMAZOMBIES’ CD is called “Bitches & Stitches” and can be 
obtained from Go-Kart Records or www.theamazombies.com. They 
will be touring the U.S. east coast this spring. 


f 



3S£s££SMg5^SSa&£ 


mmmmssssss^ 

(drums, programming, and studio t 
and Billy Curtiss <S U, *W ) ‘ 

Interview by Stephe l u Y- 


n rrrtvr; « yrr:«r.:m ariAvrsar/iJit o. 


MRR: The ABANDONED HEARTS CLUB have members that 
grew up in the Mississauga/Oakville scenes scenes where a huge 
amount of great bands have developed. .W hat is it about Oakville 
anti Mississauga that made them produce so many great bands? 

Frankie Fuckface: Oakville and Mississauga have tended to produce a 
lot of good bands for a Variety of different reasons. First, it is impor- 
tant to mention that Oakville and Mississauga are suburbs, so many of 
the kids who are musically active in the scene come from comfortable 
economic backgrounds. They can afford equipment and quite often 
have the luxury of being able to practice in a free space (their base- 
ment, garage, etc.). Their parents tend to be supportive and help out 
with die costs of being in a band. Some of us have come from this 
exact situation and are privileged in ways that others are not. A few of 
our parents are very supportive, so we have been provided with acli- 
mate that is favorable to our musical endeavors. Although a lot of us 
ate now independent, there was of course a time when we received a 
lot of help from out families. Some people tty to hide this fact, we're 
rather thankful that we were provided with the opportunity to do some- 
ill that we all love so much. Oakville and Mississauga have also 
tended to have reasonably priced venues for shows. Therefore, it is 
easy to become musically active because setting up a show is totally 
feasible. 1 Clttreit# lve in Toronto, and venues are four times more 
expensive to rent. So, once again, economics come into play. The sub- 
urban scene has also produced a variety of great bands with different 
Alot of us grew up listening to different types of hardcore, this 
mixture of influences tended to produce a scene with a ton of different 
sounding bands. I think the kids in Oakville and Mississauga and the 
music that comes out of their scene support tny point that it is a diverse 
and well-rounded scene. All the genres of hardcore seem to coexist in 


way. 

MRR: Can you tell us what bands you played in before the ABAN- 
DONED HEARTS CLUB ? 

Frankie Fuckface: Prior to THE ABANDONED HEARTS CLUB, 
Terry drummed, Kenny played guitar, and 1 sang for SPREAD THE 
DISEASE. Kenny also played guitar in NEW DAY RISING and bass 
in THE CHINA WHITE. Sunny has played guitar in a few local bands, 
including IGNORANCE NEVER SETTLES. AVARICE, COUNT- 
DOWN TO OBLIVION, and FUNERARY. Shitty Pete played in 
smaller bands that stuck mostly to playing the local scene. Billy 
Curtiss is from Northern Ontario, so he played in a bunch of bands up 
there, including BURNT KERNELS and GALLAHAD’S PAD. And 
he played acoustic guitar in a bar band called THE BLACK SAB* 
BATH TRIBUTE, how fucking cool is that? 

MRR: How did ABANDONED HEARTS CLUB form? 

Frankie Fuckface: The ABANDONED HEARTS CLUB originated 


l felt 

the need to start something up again. I was living in a house with a 
bunch of friends, it was actually convenient, because a few of my 
roommates were really taiented musicians and we could practice in our 
basement. Sunny and I lived across the hall from one another and our 
taste in music was strikingly similar so it was only a matter of time 
before we started really tossing around the idea of starting something 
serious. We were living with Kevin Finlayson — formerly of GRADE, 
the best drummer they ever had by the way — and his university was on 
strike, so he was interested in playing: he had nothing else to do. We 
all started to practice together in December of ‘00 and there was poten- 
tial; Kevin actually wrote our first song with us as it appears on our CD 
EP, 

The ABANDONED HEARTS CLUB began to grow. Kenny was the 
next to join in early ‘01. He played guitar in SPREAD THE DISEASE, 
but had taken up playing bass. We’d been good friends for years, so 1 
wanted him involved in the band. Sunny played with him in another 
band in which Terry played drums and he knew that he would lit in 
nicely. We knew we needed another guitar player. Kenny suggested 
Billy Curtiss, a musician that he had met at a local coffee house, who 
was a SPREAD THE DISEASE fan and an amazing guitar player. He 
joined sometime in February or March of '01, and he was enthusiastic 
from the get go. We all wanted an electronic element in the band so i 
contacted Terry. He had played drums in SPREAD THE DISEASE but 
had since amassed a bunch of gear and became interested in program- 
ming. I was also friends with Pete; he owned some keyboards and 
shortly joined to play as a keyboardist too. We originally planned to 
have two people doing electromcs but things feiTthtough. Kevin’s uni- 
versity settled toe strike and he could not practice that often. He also 
•began to play with some guys from BLAKE andbecame more inter- 
ested in that project, so he left THE ABANDONED HEARTS CLUB. 
It was an amicable split, but it was also a huge musical blow to the 
band. Kevin was one of the best drummers I knew, so filling his shoes 
was difficult. We held try-outs for a new drummer but we could not 
find anyone that could play drums skillfully (or even properly for that 
matter). Terry soon offered to play drums, which was pat because he 
knew our sound and was a competent drummer. Things have pretty 
much been the same ever since. 

MRR: What was the initial idea behind what kind of band you 
wanted to start? . 

Frankie Fuckface: I don't think we shared a definite idea of what kind 
of band THE ABANDONED HEARTS CLUB was going to be. I think 
we all wanted the band to be somewhat experimental , while retaining 
some sort of structured sound. We wanted to be intense, to have the 
anger of a band like KISS if GOOD-BYE,, while writing music that 
tested our collective preconceptions of what a hardcore band was sup- 
' posed to sound fikb. We wanted to write heavy music, that’s one thing 


[ that we could all agree on! We did have a 
strong desire to write music that would be 
crushing, to write punishing music that 
would motivate an audience to fucking lose 
[ it We wanted to be different but we also 
I wanted to craft a sound that could be con- 
sumed and enjoyed. We wanted to retain 
groove; but also be progressive. We just 
wanted to make people move in typical hard- 
core fashion while playing a type of music 
j that was completely different. 

MRR: Where did the name THE ABAN- 
DONED HEARTS CLUB come from ? 
Frankie Fuckface: The name itself was 
[ derived from Jean Paul Sartre’s Nausea and 
| refers to our view on the human condition 
We believe that many of us feel abandoned in 
| our lives and that this reality indirectly influ- 
; ences our actions. Most of us fear loneliness 
| and we believe this actuality is something 
• that oppresses humans universally. 
Alienation is our common insecurity, it is this 
idea which best explains why we operate 
f cohesively as THE ABANDONED HEARTS 
I CLUB. 

MRR: Who do you consider influences for 
[ the ABANDONED HEARTS CLUB 
: SOUtld? Siv;.';- 

Frankie Fuckface: F>ery member of THE 
ABANDONED HEARTS CLUB is influ- 
enced by different bands from different gen- 
res. The majority of us came out of the metal 
and hardcore scenes so we are obviously 
influenced by aspects of both of these musi- 
cal genres. Conceptually, I think we are influ- 
enced by bands like FAITH NO MORE, 

; FINK FLOYD, and NEUROSIS. We collec- 
I tively appreciate bands that have tested the 
boundaries of their genre by creating music 
that is completely original and emotional. We 
| strive to be different and derive inspiration 
[ from musical acts that have always pushed 
their genre into new directions. Musically, 
we are influenced by contemporary bands 
like COALESCE, DBA DGUY, BOTCH, 

| CONVERGE, and D ROWING MAN. 

MRR: Describe your sound. What would 
I you say you sound like to folks from the 
hardcore scene that may not have heard 
| you but a familiarity with hardcore 
descriptors? 

Frankie Fuckface: Pinning down the sound of 
[ The ABANDONED HEARTS CLUB is 
! somewhat difficult. We are one of those 
[ bands that draw from a variety of influences 
j from different genres Many listeners have 
I that our music is comparable to bdinds 
| like BOTCH or MINUS, however, we have a 
| strong electronic component that neither of 
: those bands really have. I think we are 
[ aligned with those bands in that we all write 
music that is beyond the structure and sound 
of conventional hardcore. We obsess over 
I being different and l think that is what gives 
j us uniqueness in the hardcore genre. The 
ABANDONED HEARTS CLUB has more 
of an intensity than a definite, definable 
| sound. I think that we have the v iciousness of 
!■ bands like KEELHAUL and TURMOIL; 
bands that have mastered writing ultra- 
aggressive music that retains a high degree of 


energy. 

Our electronic element is simply incompara- 
ble. You have bands like ISIS and NEURO- 
SIS that you use their technolog}' to build 
ambient atmospheres, and bands like THE 
LOCUST that use their keyboards simply to 
generate indistinguishable noise. We do nei- 
ther; we use a lot of blatant sampling, artifi- 
cial drum loops, synthesized sounds, and 
heavily processed | 

guess we are more influenced by what indus- 
trial bands have done before us. We*ve just 
applied it to a different type of music and 
used it in a completely new way. , i : 
MRR: You released a CD Ef by yourself. 
You seem to be talented enough to be on a 
major hardcore label, why did you release 
the first CD EP on yotir own ?' 

Frankie Fuckface: The band has always had a 
strong mandate of being as indepehdonLahif ^ 
professional as possible. We released the CD 
ourselves because we could. We had access 
to start-up capital, our own rebordihg studio, 
and have a drummer who is an ov^Iy : talenU 
ed graphic designer We are a self-sufficient 
unit that does not necessarily need a label to 
rely on. I firmly believe that we could con- 
tinue to operate this way If we tnily \vanted 
to. However, it i$ difficult to work i# : -this 
fashion, you find that evetyqne bias 
responsibilities and that the music becomes 
secondary to business. I am 
am also the accountant -and -.the ^biii|||||l 
agent Sometimes you want to pass off these, 
responsibilities and focus on the music, l 
think we have now reached that i>o^||||iif 
We have had a ton Of inl^est^fromu variety 
of labels. Revelation Records approached us 
in late '01. A publicist contacted' we 1 
spoke very briefly about working together. 
Our visual image (packaging* layouts, mb 
design, etc.) is a strong component jbfcthe- 
band s vision, and they could not cOfhpre^:- ' ' 
hend that we wanted to do creative relc^pl 
rather then standard-issue i^Youts - 
too rigid — the way 

have since been contacted by a fewAmcrip||?| 
labels: Hydra Head Records, Happy C&tqples : % 
Never Last, Century Medm h jatetd 
Credentials, to name a few. European f 
like Genet and Stafhw/e vvdL i 
We still operate independently; labels have . 
either been too busy to take us on or simply 
not to our overall liking. Y& have |||®l||i 
to record new music .•.for-, bl^dll 

self-release, but we are more focused on 
booking our '02 summer tour with THE END 
at the moment. We have cpntnbutclTlteti^^^J 
to a Hydra Head Records vs. Double H Notse || 
Industries compilation that will also feature 
TRIBES OF NEUROJ, 

HOUSE OF LOW CULTURE, and tons of 
other innovative bands. We have been told 
that it will be released during the summer of 
'02. Hydra Head is the only label we have 
worked with; they are one of the few labels 
that consistently release high-quality music 
with groundbreaking designs, so we’re eager 
to see this project released. .... 

MRR: What are some of your song titles 
and how do they reflect your lyrics ? 


Frankie Fuckface; My song titles are just an 
extension of lyrical themes; they are the 
embodiment of the song’s meaning. Citing 
song titles would be somewhat irrelevant, 
they are such a small aspect of my writing, 
and quite honestly, I always pen them after j 
the lyrical body i$ written, My song titles are 
relative to my lyrics but are not any greater j 
than the lyrical body that they represent l try 
to write cohesively and there is an overall 
unity in my work. Critics can attack my writ- 
ing style, but I think they’d agree that what I 
write is direct in its meaning. . 

MRR: Frankie, when SPREAD THE DIS- 
EASE played at CHRY you described 
your lyrics as left-wing. I found that par- 
ticularly interesting, given that the history ] 
of metal leans more to the right and the | 
J! reactionary Is this still the case? PSlill 
Frankie Fuckface: I continue to write from a 
; militant left-wing perspective. I firmly 
believe that art must be political so 
continued to use music as a vehicle for agita- I 
tion. Contemporary punk rock is fairly apo- 
litical and I try to combat this apathy by 
remaining true to punkfs original critical 
nature. Today’s punk is, for the most part, 
intellectually stale and I can only hope that 
our message inspire $ some kind of critical 
thought by our listeners. 

MRR: You played out in Sudbury, how did 
that come about ? ♦ J 

Frankie Fuckface; Billy Curtiss, our guitar 
player, is originally from Sudbury, Ontario, 
and he really wanted us to play his home- I 
town. Sudbury, for those who don’t know, is | 
a fairly small Northern Ontario town that | 
developed around various mining operations. 
Most bands from Toronto would never con- 
sider playing Sudbury but our band likes;fff i 
travel to small towns. The kids in these towns 
tend to be hungry for new music and they 
always appreciate when an out-of-town band > 
makes the effort to play their: scene. Some « 
our most loyal fans arc from rural areas and | 
we're down with playing shows for enthusi- 
astic people. City folk tend to be jaded so 
we’re all about taking hardcore to the coun- 
try! 

MRR: What do you hope to accomplish as 1 
a hand, in general t 'K- 

Frankie Fuckface; The ABANDONED ; 
HEARTS CLUB intends to continue relcas- 
ing music that redefines the hardcore genre. 

We plan to work with labels that share ok 
passion for creativity without ever sacrificing i 
our collective punk ethic. We hope to tour as ' 
much as possible and play in as many differ- 
ent towns (and countries) as we can. Weil 
eventually become the greatest rock band 
ever and enjoy our place in The Rock UN ’ 
Roll Hall of Fame. 

The Abandoned Hearts Club, 148 Barton, 
Avenue, Toronto. Ontario, M6G IR2, Canada j 
abandonedheartscIub@beer.com, www.thea- 
bandonedheartscluh.com, (4 16} 53 7-8474 



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?n+^ e “S* ^ sin e i 

like H'Stet Inter7iew *V Md Evans. 




mfiaswm. 









MKK: Can you folk ;i little bit about bow the response lias been, 
from people at your shows? Do you think a lot of people already 
have a preconceived opinion about the band, good or bad, because 
Mike sings for it? 

Jason: People arc going to have their opinions, good or bad, about the 
band before seeing us or hearing us. But there’s nothing better than the 
feeling of getting on stage and completely annihilating any precon- 
ceived opinions or judgments about the band, 

P I I think Mike’s name gets us in the door sometimes, but the music 
stdl has to be good for people to stick around. Most people have to be 
told what to like instead of figuring it out for them self anyway. 

Reid: Yeah, the response I've seen has been good although I haven’t 
been in the band from the very beginning. I don't think that a lot of 
people know about the band yet. But from the experience of opening 
some shows for C'KY, people were excited about the band as soon as 
they knew, or saw that Mike was singing for it. Phis doesn't bother me 
though because I think that all people just need some kind of intro- 
duction to a band to get into it. So if they see Mike in a skate video or 
at a contest, and then give us a second look then it's alright. 

MRR: As far as your music is concerned, what do you think lias 
the most significant influence on the band’s sound? Is there a par- 
ticular sound you guys are striving for collectively? 

Jason; For me. I don't think it is so much a sound, but more of a feel- 
ing we are trying to keep alive. I remember when I was a kid and 
going to see punk bands, it felt totally different than what we have 
going on today. When that band hit that first note, it was like getting 
hit by a semi. We want people to have that same feeling when they 
come to see Mike V and The Rats play. We want it to feel like an 
explosion went off. Non-stop energy. I think the younger kids need 
that experience. 

MRR: This question is for Mike. What are the similarities, or dif- 
ferences, between your approach to music versus skateboarding? 

Mike: It’s the same approach, as with every interest or passion of 
mine, straight from the heart and soul. 

\1RR: What music, outside of the Rats, have you been listening to 
lately? I)o you guys listen to a lot of new bands? 

Mike. I rarely listen to any new bands or new music. My favorite 


bands are still the early eighties hardcore bands I grew up with, and 
I’m really big on listening to singer songwriters like Steve Parle, 
Dylan, Springsteen, Mellencamp anti Joe Grushecky as well. 

Reid; Right now. I'm listening to a lot of Bob Dylan also. Mis music 
just works up some kind ol feeling in me. At times though I can grow 
frustrated with rock music’s rigidity like all that 4/4 verse-chorus- 
verse chorus-bridge- verse-chorus business. That’s when I turn to 
those old 70s artists like Can, Tangerine Dream, Eno.. and King 
Crimson. Those bands threw all that pop song structure stuff out the 
window and it’s very refreshing to hear music that isn't meant to be 
consumed in a way that a lot of other rock music is. But after a while 
I go back to the three minute pop song. As for new music, I haven’t 
really heard a lot of bands that interest me. 

Jason: There are some good new hands out there. You just have to dig 
deep to find them. 

Reid: I do like the new Queens of the Stone Age record though. 

PT: I really like the Hot Snakes. It isn't that new, but I still listen to it 
a lot. 

MRR: Sorry to change the subject, but what are your thoughts 
about the upcoming IJ.S. war with Iraq? 

Jason: What the fuck does that have to do with music? I'll answer it 
anyways First off, killing another human being is the worst possible 
thing you can do. I don’t really feel anything justifies killing someone. 
But this world has got itself in a vicious circle. One that would prob- 
ably be avoided today if we had the chance to start over. It makes no ] 
sense whatsoever to be lighting over a world that shouldn't really 
belong to anyone. But realistically, it's to late. The lines have been 
drawn. Peace sounds great, but what would happen if we all threw 
hands up and said we aren't going to light anymore? I think we would 
all be dead in live years from some asshole that has no value for 
human life. Are you willing to take that chance? I'm not so sure I am. 
So to answer your question, I have no idea how I feel about going to 
war, just like the other 90% of this country. I’m still trying to figure 
out an alternative. 

Reid: I wouldn’t support a war with Iraq at all. The US has already 
been starving people over there for a long time with the embargo and 
all. I think that killing more people in order to keep up the oil supply 



lor our excessive lifestyle is ridiculous. But I hope that there is room 
tor a dissenting voice in the event of a war. Runaway nationalism is 
dangerous. 

PT: I'm tired of being slaves for oil. Bush uses the excuse that he is 
searching for weapons, but North Korea has Nuclear weapons and he 
doesn't do shit about that. We have the resources for alternative 
sources of energy, so we should start using them! 

MRR: What do you think Mike? 

Mike: It bores the hell out ol me and I don’t see it really being worth 
my time to speak about, at least in any direct fashion. I don't watch 
the news or read the papers, but you better believe I’m concerned and 
that I'm vigilant in my beliefs against any type of military action ever. 

.MRR: Has being a father had an impact on the way you view 
problems in society, or in the world at large? I mean do you find 
yourself concerned about how the world will be in the future for 
your children and their kids? 

Mike: Having kids hasn't impacted the way I view the world. Having 
them was, and is. a direct result of how I view life and the world at 
large. Of course like every parent. I'm concerned about the quality of 
life they will 

have in this world as they grow older, but the growth of their souls is 
more important to me. 

MRR: What's the last book everyone read? 

Jason: For me it was Lexicon Devil , a biography on Darby Crash. 
After all this time I thought Darby was just a punk rock junky. It was 
a trip to read he was actually an extremely intelligent artistic person. 
You learn something new everyday. 

PT: The last book I read was about the stock market. I can’t remem- 
ber the title, I read it when I was in school getting my finance degree. 
Mike: Chaim Potok, The Chosen. It’s a good book that has definitely 
affected me, and has encouraged me to stay true to myself and to con- 
tinue to walk my path. 

Reid: I read a book called Survivors , which dealt with POWs in the 
Vietnam War. I thought it was very interesting reading about the 
accounts of the prisoners and how their prison camp was just a clear- 
ing in the jungle. They had to find and cook their own food while 
fighting off disease and hoping to not get bombed by their own planes. 
The thing that really struck me was that all of these men didn't know 
a thing about Vietnam before they left for the war and didn't even 
know why they were going there. They also recalled that they didn’t 
even know what communism was about. They just knew that they 
were supposed to be against it. While in the camp the VC officers 
made them take history classes about Vietnam’s struggle and about 
communism and some of the prisoners even switched sides and took 
up arms against the US. It was a good book. 

MRR: Minor Threat or Black Flag? 

Mike: Black Flag, only because they were the first band I ever saw 
play live and the experience was so heavy and still resonates. 

Reid: That s a di 1 lieu It decision because Black Flag's music is much 
more varied and abundant than Minor Threat's. I like the musically 
adventurous spirit that Black Flag had, but their experiments were not 
always successful. If we were talking about baseball. Black Flag 
would have been a player who was good, had his ups and downs, and 
hung around too long. Thus, the baseball writers would’ve held a 
grudge when considering him for the Hall of Fame. Minor Threat 
would have been a good player who went out on top and the writers 
would've remembered him for it. So I would pick Minor Threat. They 
were solid throughout. 

PT: Minor Threat. There were to many different eras of Black Flag 
and not all of them so good. 

Jason: Black Flag. 

MRR: The most over-rated hand of all-time? 

Jason: I urn on MTV, there is hundreds to choose from. But I will give 
you the most under-rated band of all time, I was thinking about this 
the other day: Bad Brains. If you are playing Hardcore music today, 
you ow'c your entire existence to Bad Brains, period. 

Mike: I'm not a big fan of bands that have nothing to say, where musi- 
cianship alone is the driving force. Generally, these types of bands 
don't really do it for me. 

Reid: I don't know. A lot of bands are overrated for different reasons. 
Sometimes because of their look or their politics. I don’t know if other 
people feel this way, but I'm growing less and less fond of Rush by 
the day. 



PT: I'd say the Eagles. I can’t stand that shit. 


MRR: Are their plans to do any ma jor touring in the near future? 

Mike: Well, at this point everyone’s got day jobs but sooner or later we 
will throw caution to the wind, and do an extensive tour. In the skate- 
board world I've already established that I’m a touring machine and I 
would like to set the same bar with this band at some point. 

Jason: We are doing a short trip with CKY in February. Other than 
that, nothing is solid. 

MRR: What about any upcoming recording plans for the Rats? 

Jason: We are in the studio now recording songs for a compilation on 
Sessions Records. We are also recording songs for the soundtrack to 
Mike's new video Greatest Hits. 

MRR: Alright, last question. Would you consider yourselves com- 
pletely “free” human beings? 

PT: Taking the word literally, I don't think anyone is free. The state- 
ment, “There is no such thing as a free lunch", implies there is a cost, 
whether it is monetary or not, for everything someone does. 

Jason: If you're referring to the true definition of the word freedom, 
none ol us are completely free, and odds are we never will be. But I 
feel freedom is a state of mind, and in that sense of the word, yes, I 
feel free. 

Reid: No. because in order to live I have to obtain food, clothing and 
shelter. Human life at its most basic is devoted to these things. 
Animals themselves are not free either because they spend even more 
time than we do searching for food. Instead of wandering around 
looking for food, we have money that can be exchanged lor goods and 
services. So we compete to get work to get money to get the things we 
need to survive. 

Mike: To me freedom is solely a state of mind that is not controlled by 
environment. I try to be conscious of every moment, thus I’m free to 
learn and grow. 

www.mikevandtherats.com 



lot of bands I don’t 
benefits for me. 


even know did 


OISINEGRATE 

YOU BASTARDS! 


. So, Ilckl, 

[Nicki: Well, 

(in prison i 
years . Other 
uh-the 


« 4 »r* y* been? 

I’ve 

for the last 
than that, I've 
last couple 


Interview with Nicki Sicki 
(from Sick Pleasure/ Verbal Abuse /Humungus) 
by Damon O’Banion. * 


been 

few 


of 


couple 

HB- L i be6n ever y w here . 

Sro. t#U "hy you were 


^icki: Well, me thanphet amine- 

Ch * tg *- 

lhy don't you toll us a lit- 
’** shout -it's your third 

lias? Bust bars boon s littls 

■MW * 

W • • • ■ 

Teah, well, they tried to 

me 25 to life, but everybody 
I know came through for — 
d helped me out and got 
wyer and got me outta there. 


*B&: Tou renwtotr sonw of tboss banW 

Nicki: Well, lets see...Verbal . Abuse, 
Dystopia, Noothgrush. Drunken Thunder. 

I don't remember a whole lot o em. 
Who else played on that PC show? D 
Horse the Drunks, (laughter) all my| 
friends ar e a little fucked up. (more | 
laughter) /** 


MB&: So, now that you’re out, have 
you played any shows? 

Nicki: I got out on a Friday 
afternoon, we played Saturday 
night in Austin and we played in 
Houston, that’s with Humungus. 
Austin went real well. 

MBR: Who’ 4 you play with! 

Nicki: The Krum Bums, the Bulemics 
and Nigel Peppercock. _ 


fhat’d 

l bands? 

licki: All three bands rock. It wa 
good show. Nigel Peppercock 
one out-there band. 

MB&: Tou bad an opportunity to • 
with tbs Bui sol os. 

[Nicki: Yeah, we played "Thre 

Seconds of Pleasure." 

•MBE: So, t#U Mmxisum RocknroU 

What rslsssss to aspect thl 

rs-rslsases. 

iNicki: The original Verbal Abus 

Ki is being re-released with about 

show with the 

Hamones. Then Beer City s als p 
ting out the new Humungus r «^ d - 
Hhte Mother Fucking Cops, which ha 
“Cheetah Chrome playing guitar on it 
from the Dead Boys, with the first 
album. ..A Season To Care as bonus 
tracks. So it will have both albumsj 




MBR: Sick Pleasure? 

Nicki: Well, Sick Pleasure's supposed 
to be putting together all the songs 
onto one CD or something and be put- 
ting it out, but that's still a little 
ways down the road. Mike's working on 
it right now. There'll probably defi- 
nitely be some Sick Pleasure shows 
before the end of the year. At least 
out in San Francisco, I know that much 
MBR: Aren't you uh waiting to bear 
whether or not you arw going to be 
assigned a leg monitor-waiting to see 
whan those shows will... 

Nicki: Yeah, that's kind of putting .a 
da m per on things right now 'cause part 
of my parole plan was getting the leg 
monitor 90 days or however long 
they're gonna stick it on me. I've been 
out three months and they still 
haven't put it on me so every month is 
like-I keep thinking, "Well, this 
month I'm gonna get it," so I don't 
really make any plans to do anything 
but hopefully-I 'm like ready for 'em 
to do it. Hopefully they'll do it soon 
so that I can get it over with. 

MBR: Why don't you tall MBR raadars a 
little bit about what got you into punk 
rode? 

Nicki: Well, what got me into punk 
rock, I guess, was the Stooges and Dead 
Boys and stuff. My first band was in 
the late 70s: Legionnaire's Disease. 
MBR: That was the Houston band? 

Nicki: That was the Houston band, 
except I never played with ' em in 
Houston. They were getting ready to go 
on tour and their bass player cut his 
thumb just about off and they needed a 
bass player to fill in and I knew every 
one of their songs at that point so I 
just jumped in the truck and ran away 
from home. I was fourten or fifteen 
years old. Went to California with 
them and then everybody's so strung 
out it just broke up out there. I was 
like a little kid, but they were all 
way older than me and so I just stayed 
in San Francisco and that's how I ran 
into Mike Fox and then started up with 
Sick Pleasure. 

MBR: Tell u » how that started. 

Nicki: I was just hanging out at the 
Mabuhay Gardens and Mike Fox came up to 
me and I never even sang in a band 
before, well actually no, that's not 
true, I was singing with Social 
Insect, and we'd done a couple shows. 
That was just a throwaway band. Me and 
Bob Noxious from the Fuck-Ups playing 
drums and Ricky on bass and, uh, but 
Mike just came up to me and said "Dude, 

I want you to be the singer of my 
band." I'm like, "OK." And went down 
there and that was it. At the end of 
the month it worked. 

MBR: Were you writing before you 
became a singer? 

Nicki: Well I've always been writing 
lyrics, I mean, ever since I was just 
a little teeny kid, I mean, but even 
when I went to go join Sick Pleasure I 
had a notebook of like a 100 or 200 
hundred songs that I'd been writing 


since I was like twelve years old- 
before I even knew what punk rock was. 
Half those songs from Sick Pleasure 
came from that notebook. And in fact, 
every song from Sick Pleasure came 
from that notebook. 

MBR: Take us from Sick Pleasure to 
Verbal Abuse. 

Nicki: Well, I was with Sherry back 
then and she had a kid. We were pret- 
ty fuckin' high on speed and it just 
didn't seem.. I just felt like I need- 
ed to go somewhere with that kid. I 
mean we couldn't stay in San Francisco 
and keep doing what we were doing and 
have a kid there. So we split. We only 
stayed gone about a year or so and then 
her parents ended up taking the kid, 
which was the best thing. I went back 
to Texas after that and started Verbal 
Abuse. 

MBR: Who was In tbs band? 

Nicki: Originally it was these two 
brothers, Radie and G.E. We played for 
quite a while and then G.E. found reli- 
gion and decided that I was evil, so 
he quit the band and somehow Radie knew 
Joie from somewhere, and just had him 
come up from Harlingen to come try out. 
And he worked out. And Brett didn't 
join the band until Verbal Abuse went 
to California. Matter of fact, I did- 
n't even know he was cornin' until the 
band showed up and they had Brett with 
them. At that point I still thought 
Radie was coming to California, but 
somehow JOie just found a new bass 
player on the way to California. 

MBR: Ihst motivated Verbal Abus# to go 
back out to California? Didn't some 
pretty amaslmg punk bands decide to do 
the seme thlng-head west from Texas? 
Nicki: I'd already been out in 

California with Sick Pleasure. I knew 
that there was a much better scene, but 
when Verbal Abuse showed up, I didn't 
realize how well the scene had grown. 

I mean, I didn't want to come back, but 
we did, and we came back with the 
Dicks, M.D.C and D.R.I,, all four 
bands, the Texas Hell shows. 

MBR: All tboss bands andsd up In 
California? 

Nicki: Not one band came back after- 
wards. Every band got to California 
and stayed. 

MBR: Ttrbal Abu sa rscordsd American 
Band. You than hit tbs roadL 

Nicki: Yeah. We spent about four 
months on the road. Damn near played 
with everybody I can think of. I mean 
SNFU, the Ramones, Decry, Poison Idea, 
Agnostic Front, Reagan Youth, Die 
Kruezen, and tons more... 

MBR: • .Slayer. 

Nicki: ..Slayer. Played with Slayer in 
Canada. That was a strange one. We 
played a titty bar in Canada with 
Slayer 

MBR: You andsd tp on their Sail Awaits 
album sleeve, rlgit? 

Nicki: Yeah. They thanked us and put my 
picture on their album. A decade later 
they end up doing five Verbal Abuse 
songs on their Undisputed Attitude 


album. Which is the most money I've 
ever made from my music, and I didn't 
even do it. Hal 

MBR: So when did you decide that Verbal 
Abuse wasn't fun anymore? 

Nicki: Well, when we were out on the 
road a lot, I mean when Verbal Abuse 
started, when Joie joined the band, 
all the songs were already written. 
The first album was already written. I 
had written just about everything on 
there, and then once Joie joined the 
band he could play all of that, but 
that's not what he would write. He 
started like getting really into that 
glam kinda'-I don't know, almost like 
Guns N Roses type stuff, and it was 
just easier to quit the band than it 
was to try to’ change the way the tide 
was going. I mean, you could see by the 
next album the way they were starting 
to sound. It wasn't nothing like the 
first album. We got back from tour and 
it was time to sit down and write some 
new songs because we already pretty 
much tore it out with the old album, 
and I just didn't want to write songs 
with Joie. I mean, it was just not the 
kind of music I wanted to do. I mean, 
hats off to 'em, they kept it going, 
y 'know, but it wasn't my thing. I just 
didn't want to sound like that. 

MBR: So how long did It taka you to 
pick yxp another band? 

Nicki: Well, I went straight back to 
Houston and got together with Andy 
Shuman. We started up with Afterbirth 
pretty much right away. Afterbirth 
never did record anything, but it was 
one of my favorite bands. Got a little 
demo tape out, but that's about it. We 
were together for a few years, I don't 
know why we never bothered to record. 
We were in Houston. I guess that's 
about the explanation. 

MBR: Ironically, Andy Schuman andad up 
aa a guitar player for Varbal Abuse. 
Nicki: Yeah, that was like the closest 
thing to original member was being 
able to say I played in a band with 
Nicki some other time. 

MBR: fall, I mean. Afterbirth kicked 
It around for a few years In Houston, 
played some really good shows- 
Nicki: We went through several line- 
ups... 

MBR: Than you decided to move but 
Afterbirth klnda-what happened 
Afterbirth? 

Nicki: Well, we went out to California 
and then Andy wanted-hooked up with 
Verbal Abuse. I went back to Houston, 
kinda reform Afterbirth again and then 
I don't know everybody just kind 
of... that band just kind of drifted 
apart. It wasn't like there like was 
some great reason why that band broke 
up. Everybody just kind of drifted 
apart. And* somehow, I don't even know 
how, I ended up in Virginia, but I 
ended up in Virginia and with the band 
Dirtbag. 

MBR: Dirtbag was on# of your favorite 
bands- 

Nicki: Yeah, probably my favor ite-I 


WELL I REALLY BELIEVE MUSIC CAN CHANGE THINGS. I MEAN, 
I KNOW I WOULDN’T BE THE PERSON I AM TODAY IF IT WAS- 
N’T far MUSIC PERIOD. I WOULDN’T BE A VEGETARIAN. I 


I KNIlW I lYUULUn I ot 1 m. ■ ’ 

H’T FOR MUSIC. PERIOD. I WOULDN’T BE A VEGETARIAN. 
WOULDN’T HAVE GONE TO PRISON, EITHER, BUT YU KNOW 
MUSIC HRS REALLY SHRPED MY MIND. 


have to say they're probably one of my 
favorite bands I've ever done. 

MBR: Yothing released, nothing 
recorded. 

Nicki: Nothing. Nothing. And Sid 
totally, the guitarist, did not know 
shit about punk rock, which made it so 
good, I .mean, a guy like who could 
play like classical acoustic guitar, 
but he didn't know shit about punk 
rock so he was just bashing, he would 
just play, I mean, but he like had 
like totally original like ways of 
playing everything. It was really 
good. 

MBR: Talk a little bit about the scene 
up in Virginia and some of the shows 
that you played. 

Nicki: Well, there was really never a 
scene in Virginia, but it was really 
easy to get to anywhere. Ya know, 
within four or five hours you were in 
everywhere from New York to Florida, 
ya know, you could travel around real 
easy up there on the East coast. But 
as far as where we lived, there was no 
scene. I mean, there was one club. The 
only other bcuad that we ever played 
with locally was Sewer Puppet, which 
was Kirk from Buzz-oven and his band, 
and usually every other weekend was 
either we went down and played with 
them in North Carolina or they came up 
played in Virginia with us. 

MBR: fill, ones again, great band, 
good shows, but you dec ids to coma 
back homa to Texas.' 

Nicki: Yeah. I was just out in Texas 
for the summer and ran into Joe Dead 
and.. 

MBR: Sick Mentality™ 

Nicki: Sick Mentality just broke up 
and Joe wanted to do something. We 
jammed for the suraner and it just 
stuck. I mean, I've really enjoyed 
playing with Joe and shit, I've been 
playing with him eight years, nine 
years-fuck I don't even know how many 
years. I've been playing with him a 
long time and, I mean, we've been 
through half a dozen bass players and 
drummers but Joe Dead's been more 
faithful than a girlfriend. Man, he's 
waited for me every time I went to 
prison, he's been there when I get 


out, ready to play. We recorded an 
album back-six years ago-and Humungus 
is kind of spread out on a time line 
because I keep going to prison-I've 
been to prison twice during Humungus. 
Once for two years, once for two and 
a half years, so, it's kinda slowed 
the ball down a little bit, but last 
time I was out, we got Cheetah Chrome 
up playing guitar from the Dead Boys, 
and recorded the new album and he was 
originally coming up here to play one 
song but , ended up staying on the 
couch for like a year. 

MBR: Let** back \xp a littla bit. Tea 
guys racer dad your first Humungus 
album around 1990, . .1 Reason to Care, 
ralaasad on Scratched Records . 

Nicki: Right. 

MBR: On vinyl and CD. Humungus kept 
playing, wrote new songs. A year or 
two goes by and your asked to play at 
CMJ r in Yaw York. This is where Cheetah 
comes into the picture. Tell us a lit- 
tle bit about how you found him. 
Nicki: I was listening to the Dead 
Boys CD and I was telling Joe after we 
were getting off the plane, I was like 
"I really wanna do Ain't It Fun on the 
next record." Joe was wondering how I 
would do it -with all the singing 
instead of screaming, but he was into 
it. I wasn't off the plane but about 
two hours and walking down the street 
and there was Cheetah standing in the 
methadone line. He was just like, 
"Grimme a plane ticket and I'll come 
down and play on the record, too." It 
wasn't three or four weeks after that, 
we flew him down to Houston-the guys 
from Sound Virus actually paid for his 
ticket - he was gonna play on the one 
song but he ended up just staying in 
the house and joining the band. He 
only plays on eight songs or something 
like that, I think? We recorded a 
bunch of Dead Boys songs, too. We 
might release that as a single or 
something just as a "that was then, 
this is now" or something like that. 
One of the songs on the I Hate 
Motherfucking Cop 9 is the last Dead 
Boy song that they wrote that they 
never got to record, but it's got my 
lyrics on it 'cajxse Cheetah couldn't 


remember the lyrics that went with it. 
Its the music, the music is the last 
Dead Boy song, it's called "Freedom 
Does Not Exist." 

MBR: How do some of the vermes go? 

Nicki: "You're not free, it's a lie/ 
You're not free until you die/ 
Freedom's what they call it when 
you're doin' what they say/Follow all 
the rules they make or there's a price 
to pay /Do it long enough you might 
forget that you're a slave/But you're 
not really free until you're laying in 
your grave" 

MBR: You believe that? 

Nicki: Oh, yeah. I mean, there's no 
freedom in the United States. Hell, if 
I was free, I wouldn'ta been to 
prison. It's not like I did something 
to somebody. 

MBR: So the album's called I Bate 
Mother Fucking Cope . It's in stores 
now, or available by order from Beer 
City. It also contains tracks from the 
first album, -A Beaeon To Care . 

Nicki: Right. 

MBR: You're a vegetarian. 

Nicki: I'm a vegetarian. I believe 
heavily in animal rights. Don't real- 
ly preach it too much even though we 
do have some songs on the new album 
that are about animal rights. 

MBR: Are you a menace? 

Nicki: No, not to society. Maybe to 
myself sometimes, but that's about it. 
MBR: So, that said, brings us to the 
current state. You're free now, what's 
next? 

Nicki: Well, I'm gonna stay free this 
time. I have to tell you, I'm really 
sick of prison. It ain't like nothing 
that you read in books or magazines or 
nothing like that. It's not as bad as 
you probably think it is sometimes and 
it's not as good as you think it is 
sometimes. It's somewhere falls-falls 
somewhere in between but it always is 
never what you want to be. 

MBR: Want to stay in Tsxas, or Is It 
tims to mors back to California? 
Nicki: Well, I want to go back to 
California, but I got three years of 
parole to do, so I gotta figure out 
how to get my parole transferred out 
there and that's gonna take a little 


bit of time. Until I get everything transferred, I • 11 prob- 
ably stay up in Austin most of the time or something. 
There 1 s not much going on in Houston. For the third biggest 
city in the United States, it sure is a sad place to live. 
MBR:Do you think that we can change some of the thing* that.. 
Nicki: Well, I really believe music can change things. I 
mean, I know I wouldn’t be the person I am today if it was- 
n't for music. Period. I wouldn't be a vegetarian. I would- 
n't have gone to prison, either, but ya know. Music has 
really shaped my mind. I've met a couple of people who've 
said "Well, I've quit eating meat because of your band, 
I've done this..." even if it only changes one person, that's 
enough. 

MBR: You've managed to hang onto your record collect Ion. 
Tou're building a new one. 

Nicki: Yeah. 

MBR: What are tone of your favorite bends now? 

Nicki: My favorite bands now. Well, I'd say Dystopia. I'd 
have to say Blood for Blood has the most beautiful lyrics 
ever. I really like the Krum Bums, a local Austin band here, 
uh, I haven't had a chance to see a whole lot of new music. 
Like, I've only been out for three months this time, but, 
I still listen to all my old favorites, too: the Dicks, the 
Cro Mags. 

MBR: Well said. Where Is Vicki Sick! in five years? 

Nicki: Not in prison. Hopefully I'll be back in the Bay Area 
by then, goddamn. Urn, still playing music, man. I mean, I'm 
getting old, but I ain't gonna quit. 

MBR: Is there anything that you* re writing now that Is dif- 
ferent than what you wrote fire years ago? 

Nicki: Oh, sure. My lyrics are a lot more well thought-out 
now than they've ever been. The lyrics have always been 
angry and full of hate, but they're a lot more...I can put 
my finger on who I hate a lot better now than I could 
before. 

MBR: Prison Is an environment that breeds hate. 

Nicki: Yeah, yeah. 

MBR: Bow'd you get through It? 

Nicki: Well, you just do. Everybody, I mean, anybody goes 
to prison's gonna get through it. Either that or you're 
gonna die there, but, you're gonna get through it. You 
learn to stay alone. You really don't want a whole lot of 
friends in prison. It just causes you trouble. 

MBR: Vicki, are you an anarchist? Or are you an American? 
Nicki: Well, I don't consider myself American, that's for 
sure. I mean, except for maybe on my prison records or some- 
thing, but uh. I really don't say that I'm an anarchist 
either. I don't really know what I am. I'm just me. I just 
think we should all be left alone. That's really all I ever 
wanted out of life, is just to be left alone and to be able 
to do what I wanna do. 

MBR: So, let's talk a little bit more about prison. Did you 
find anybody in prison like yourself? 

Nicki: Almost everybody I met that even knew about decent 
music were the white-power knuckleheads. The people I would 
run around with didn't have anything to do with music. They 
were just regular ol' guys. 

MBR: You went through some tough times while you were 
locked up. You lost your dad, you lost your dog, you lost 
your mo hl. 

Nicki: Yeah, I almost wanted to give up there for a little 
while. Everybody that I was caring about was dying. But it 
took me a while to get out and realize that I've still got 
a lot of people out here. 

MBR: What advice would you give to someone that's reading 
this right now, locked up, troubled-suffering-how do you 
get through It? 

Nicki: Just hunker down. You just gotta go through the 
days. More days you go through, the less it bothers you. 
MBR: Anything good come out of that experience? 

Nicki: Well, it's definitely helping me stay out of prison, 

I guess is the way I would say it. I don't wanna give any- 
body the wrong idea. I'm not trying to be some angel. I'm 
not even trying to be sober. I'm definitely not doing 
things that are gonna put me back in prison. Some people 


still say that anything I do is gonna put me back in prison, 
but they're not gonna come kick my door in for what I'm 
doing now, ya know? You've got to try to hang on to and 
remember why 'cause it's real easy a couple months after 
you get out to just forget that you were ever there. Because 
you don't want to think about it. 

MBR: That's really important, I think. The reason shy peo- 
ple SO back and there's a lot of different, you know. 
Nicki: Hell, I went back three times, so... 

MBR: It wasn't because you wanted to. 

Nicki: No...Wasn't 'cause I was too bright, either, but... 

MBR: Well, unfortunately there are people out there that 
get used to that life, and don't know how to deal when they 
get out. But you seem to have adjusted well, happy that 
you're out- 

Nicki: I've always been able to adjust to almost anything. 
Sad to say, I adjusted to prison pretty much when I got 
there, too, and I can get through any thing- 1 know that. 
MBR: Dee Dee B a m o n e died ‘'recently , Jbey Bamone died not 
too long ago. Give us a good Bamone* story. 

Nicki: Well, the Bamones and Verbal Abuse never quite got 
along 'cause when they came out to the Bay area, it was 
after they did that Phil Specter album, Bam Music got us, 
Verbal Abuse, to interview 'em. And like the first question 
was, "So why did you guys sell out?" and that was like the 
nicest thing we said. I mean it was just...we just kinda 
talked down to 'em. They called it "Ramones Get Abused." 
And uh, we got up to New York, matter of fact, for the live 
show where on the new Verbal Abuse album comes from, we were 
playing with them and they walked in and they weren't very 
happy with it. We go on and we play and we come off the 
stage and they had roped off the backstage where their side 
had like a buffet, drinks, champagne coming out of those 
little tiers and everything. And our side had four folding 
chairs on the other side of the velvet rope, and that was 
it. So, we were sitting there on our little side and Matt 
Dillon, the actor, came back and was talking to us and said, 
"What the fuck's going on with your side of the'... I mean, why 
are you guys banned over here?" And we told him the little 
story about the Ra m ones . I guess the Ramones were courting 
him right then to get their music on one of his movies. And 
he was like, "Man, they ain't gonna say nuthin' to me" and 
he drug their buffet table over to our side, and some of 
the champagne and everything. We were sitting there with 
like three drinks in every hand when the Ramones came back, 
and they saw him sitting there with us. And they huddled 
up and they talked and they sent the bouncer over there to 
take down the rope and were like, "We're sorry, this was- 
n't supposed to be here." Oh well... 

MBR: Verbal Abuse was about to go on tour -that first show, 
you got knocked out? 

Nicki: Oh yeah. That was Poison Idea. All I got out was 
"Verbal Abuse, One, two, three, four..." That was the end of 
that one. They had to take me to the hospital. By the time 
we got finished with that tour I had like eight or nine 
hospital arm bands all up one arm. I don't really know how 
I used to do it, either, I mean it just would happen. At 
one point I had a cast on my arm, and a Dixie cup with a 
rubber tube coming out of the top of my head and a splint 
on my nose. That was when we got to New York. We got caught 
up in some riot with skinheads in St. Louis. That's where 
I got my arm broken. I don't know who put that bill togeth- 
er, but it was Samhain, Verbal Abuse, and White Pride. I 
never seen three bands that never should have played 
together more than those three. With three completely dif- 
ferent crowds. By the time we started playing, chairs were 
flying, it was just crazy. 

MBR: What kin d of advice would you have for a punk rock 
band out there that's Just starting? Thinking about going 
on the road, thinking about doing this for a living? 

Nicki: Well, don't think about doing it for a living. Think 
asbout living for it-that's more like it. If you're think- 
ing about doing it for a living, you're chasing the wrong 
tail there. Don't sell drugs. Stay out of prison. It real- 
ly fucks up your fucking music when you're in prison. 



• $ 


3 Ka" « "„"ia eS 

sSSSsS^S^^a^"- 5 ®^-* 

to Bigamists drummer ja 


^we Qotboredondt j red with all the choir crap. 

fWe used to just take off and smoke a bowl. At one point, 
Isomeone brought a j ambo x a nd wa s playing the Ramones. 

We all decided that's what we should be doing. 

“lit all made perfect sense especially 
jwhen we were all completely baked.... 



MRR: First of all, what’s the meaning 
behind the name Bigamists? 

Gordon: Obviously we were trying to be 
controversial being in Utah and all. It 
helped that our drummer Jack’s father actu- 
ally WAS a bigamist with 4 wives. Not only 
that, each wile was a different nationality! 
One was American Indian, one Chinese, one 
African, and one Guatemalan. The Chinese 
wife was one of the people killed by a bomb 
planted by Mark Hofmann, the infamous 
forger of rare Mormon church documents. 
Jack: I always thought it was because we 
liked big tits. Like watermelon tits, man. 
MRR: Would you give a brief history of 
the hand, like members, period of exis- 
tence, etc? 

Gordon: It's pretty simple... we all tried out 
for the Tabernacle choir as kids and all of us 
were rejected. All the reject kids wind up in 
local community choirs. That's where we 
first met. We got bored and tired with all the 
choir crap. We used to just take off and 
smoke a bowl. At one point, someone 
brought a jambox and was playing the 
Ramones. We all decided that's what we 
should be doing. It all made perfect sense 
especially when we were all completely 
baked. As a "band”, we lasted less than a 
year. Late late 1978 through mid 1979. We 
were a three-piece. I'm still in touch with 
Jack. He's a manager at the busiest Denny’s 
in Salt Lake City. The other member Chino 
was killed back in '85 at a fireworks display 
in Kanab, Utah. All the fireworks acciden- 
tally got set off at once. He was one of five 
people killed. 

Jack: May Chino rest in peace in the hands 
of the Lord. 

MRR: As the hand is still very obscure 
and even lots of Utahans can’t recall 
things, it was supposed that the group 
was just a studio project made up by the 
Mormon Church to jump on the punk 
band-wagon. 

Gordon: No, the church HATED us. We 
actually only played two gigs ever, but the 
second and last one was at a Mormon fami- 
ly picnic. Actual fistfights almost broke out 
between our parents (who had a sense of 
humor and took our band for what it was, 
mainly a joke) and people who found it 
morally offensive. 

Jack: Gordon and I have always disagreed 
about this one. He says we were a joke, but 
as the Lord is my witness, there is nothing 
funny about punk rock. 

MRR: You released the single on your 
own Tabernacle records. 

Gordon: Yeah. We recorded it at a local stu- 
dio that mostly did commercial jingles. We 
pressed up 200 and sold maybe 5 at the 
time. The rest we gave away. I got a call 
from a guy in Whippany, New Jersey a few 
months ago who claimed lots of punk col- 
lectors were looking for it. I managed to dig 
up one copy for him. He sent me some CD- 
R's and a rare sock monkey I'd been looking 
for. I collect folk art, and 1 have over 75 
sock monkeys, all different people. Some 
are almost 100 years old. 


MRR: What were your songs about? 
Gordon: Well, “Wiley" was about Jack’s 
father specifically, but more reflective of the 
city we lived in. “Sniffin'" was, well, Chino 
wrote that one to get back at me. We had the 
songs rehearsed, and were ready to go, but 
the night before recording we got into a big 
fight — I don’t remember what about, that's 
all lost to time. Anyway, after he went 
home, he wrote these lyrics about how I 
used to sniff my sister's panties. At the time 
it was my darkest secret and I was furious 
when he sang the song. I wanted to make 
him redo the vocals, but we didn't have 
enough money for more studio time. In ret- 
rospect, the event actually helped me come 
to terms with certain aspects of my sexuali- 
ty, which I now embrace. 

Jack: Chino was in the booth doing vocals 
and Gordon and I were sitting around drink- 
ing coffee, which was actually quite taboo 
in our town, watching him. Gordon darn 
near choked to death when the first line 
came out. 

MRR: Since the music is very very 
detailed and well arranged, it seems you 
did rehearse often before going into the 
studio, or just happened to be excellent 
musicians before The Bigamists. 

Gordon: Well, I'm Haltered, but we weren’t 
that good. All of us were forced into musi- 
cal training (piano, violin, etc.) as kids. It’s 
practically required by the Latter Day 
Saints. 

Jack: These days I've gotten back into play- 
ing some music, mostly because my chil- 
dren have formed an orchestra together. 
They want their old man to be the conduc- 
tor, so I've been taking conducting lessons 
on my day off from Denny’s. Maybe 
Tabernacle Records will have a second 
release someday. 

MRR: Do You remember a particular 
magazine or distributor who recognized 
the potential in the band or on the single? 
Gordon: Hell no. Nobody gave a shit... 
actually we barely cared either. We were 
just bored and high and liked the Ramones. 
Typical teenager stuff. 

Jack: Amen. 

MRR: Why does the single lack proper 
infos, lyrics and photos. Was that made 
intentionally? 

Gordon: We couldn’t afford a sleeve. We 
did make a few photocopied ones to give to 
our friends — all 12 of them! Ha! Ha! I’m not 
sure what proper infos were needed other 
than song titles, though. Anyway, we were 
probably too baked to come up with any- 
thing else. The pressing plant did all the 
typesetting. 

MRR: Thanks for llnding time to do this 
and even more thanks for what you did 
20 years ago (no matter how pathetic this 
may sound). 

Gordon: Thank you. With your help, 
maybe our popularity will increase in places 
like Singapore and Bavaria and Venice and 
New Jersey. I’m told there might be interest 
in our three unreleased songs. 

Jack: God Bless Maximum Rocknroll! 


WMk 



/sy.- .y.y, /.< 





...In retrospect, 


the event actually 




certain aspects 


of my sexuality. 



FROM THE 
FRONT LINES 
OF THE DRUG 

WAR AND 

globalization: 



25 THINGS TO 
KNOW 

OLIVIA 

Events in Bolivia over the last 10 years are an excellent illus- 
tration of how much impact policies carried out by the 
United States can have on foreign countries without the US 
population knowing a thing about it. Recent media favorites 
in Latin America include Mexico (a US neighbor and member 
of NAFTA), Colombia (a site of counterinsurgency warfare), 
and Brazil and Argentina (regional giants facing economic 
ruin). Other hotspots get the headlines, but what's happening 
in Bolivia is an important story: it shows the callousness ana 
corruption of US power, ana that grassroots activism can 
score imperfect but impressive victories against mighty odds. 



HISTORY 

1. The history of the country could well be 
written as an account of foreign powers 
and what resources they sought to extract 
for their own benefit. Beginning in the mid- 
1500s and continuing for three centuries, 
Spain plundered Bolivian silver mines. The 
country achieved political independence in 
1825, but exploitation continued in new 
forms with the rise of transnational capital- 
ism. In the 1960s, for example, the Dutch 
company Phillips Industries clinched a deal 
that enabled them to mine zinc at less than 
1.5% of its actual value. The United States 
government worked in various ways to 
ensure the piracy would continue, and US 
hanks consistently turned down loan 
requests to develop Bolivian oil fields until 
the state petroleum company arranged a 
generous deal with the Gulf Corporation. 

2. The country was under military rule 
almost continuously in the 1960s and 70s. 
The power of the armed forces was curbed 
somewhat during the mid-century, but 
reemerged stronger than ever with a coup in 
1964. Over the next 18 years, there would be 
a series of 10 military dictatorships, includ- 
ing that of General Hugo Banzer (1971-8). 
An Argentinean judge is seeking Banzer 's 
extradition on the grounds that he aided 
Operation Condor, a campaign of political 
murders orchestrated by right-wing South 
American governments in the 1970s. 

3. Bolivia is where Che Guevara was killed 
in 1967, a task in which the United States 
participated. Guevara came to Bolivia hop- 
ing to spread the success of the Cuban revo- 
lution to other parts of Latin America. His 
attempts to organize a guerrilla army in the 
Andes, however, were disastrous: the rebels 
failed to recruit even one peasant to join 
them. By the end, a meager band of some 20 
guerrillas were encircled by thousands of 
government troops. Bolivian authorities ini- 
tially announced that Guevara had been 
killed in combat; in fact, he was wounded, 
captured, interrogated and executed. The 
military units involved were trained and 
accompanied by US Green Berets, and a CIA 
agent participated in his interrogation. 

4. Bolivia is the poorest country in South 
America; it is the second poorest in the 
hemisphere (after Haiti). This poverty 
makes the country especially needy of for- 
eign assistance, particularly that of the US. 
But such aid is a Faustian deal— the money 
comes with strings attached, on the US's 
terms. In order to keep a steady flow of 
money, Bolivia has to put its own needs on 
the back burner and favor the priorities of 
Uncle Sam. 

THE DRUG WAR 

5. When the military gave up power in 
1982, it came during the worst economic 
crisis in Bolivian history. Interest rates on 
the country's enormous debt went up, and 
inflation went as high as 24,000%. 
Additional blows came in 1985, when the 
market for tin collapsed, and the following 


3Y LANE VAN HAM 


year, when natural gas prices went down. In 1985, the govern- 

ment accepted the terms of an International Monetary Fund 
(IMF) stabilization plan, devaluing the currency, cutting social 
welfare subsidies, and selling off state-owned businesses. 
Champions of neo-liberal economics gave the plan credit for a 
number of improvements toward the decade's end. However, 
this conceals a more likely story, which is that the economy was 
helped by a massive influx of money from something else that 
was happening in Bolivia at the same time: the rise of cocaine 
cultivation. 

6. The foundation of the Bolivian drug industry was laid 
while the country was under military rule. In the 1960s, 
Bolivian authorities began to encourage peasant migration to 
the semitropical region called Chapare, hoping the land would 
be suitable for agriculture. But the experiment turned out poor- 
ly for a number of reasons, and with the 70s coca boom, 
Chapare farmers increasingly turned to coca cultivation as a 
means of survival. Coca was a long-standing staple of Bolivian 
agriculture, a plant that was legally grown and consumed as a 
mild stimulant. It was especially well-suited to the dire condi- 
tions of Chapare, though, because it has low start-up costs, 
grows in poor soil, and is easy to transport for sale. Meanwhile, 
the military government was providing loans for agribusiness 
elites so they could set themselves up in the fledgling cocaine 
processing industry. 

7. Drug money was the Bolivian government’s secret ingre- 
dient in stabilizing the national economy. Though civilian 
rulers were less directly tied to cocaine than their military 
predecessors, they continued in subtle ways to aid develop- 
ment of the country's most successful export. In previous 
years, industry bosses had found it safer to keep their profits in 
Caribbean accounts. But the new government passed a series 
of legislation giving a wink and a nod to drug traffickers by 
doing such things as eliminating investigations into the origin 
of money coming into the country. The drug money came 
home to Bolivian banks and played a crucial role in bolstering 
the national economy. 

8. In the 1980s, US officials found the*drug war a useful tech- 
nique for maintaining a US military role in Latin America. 

This was especially true of the cocaine-producing countries in 
the Andes Mountains: Colombia, Peru, and Bolivia. In Bolivia 
in particular, US forces provided training for the anti-narcotics 
police Mobile Rural Patrol Unit (UMOPAR). They also worked 
with UMOPAR for Operation Blast Furnace in 1986, providing 
six Black Hawk helicopters and 160 troops for a series of raids 
on coca processing facilities in the jungle 

9. When the role of the United States in Blast Furnace met 
widespread criticism, US and Bolivian authorities turned to 
lower-profile operations. Many in Bolivia were outraged that 
foreign troops had been allowed into the country without con- 
gressional approval— something expressly forbidden by the 
constitution. The follow-up to Blast Furnace, Operation Snow 
Cap, was more sustained, and removed direct US military par- 
ticipation, using instead members of the US Coast Guard, 
Border Patrol, Drug Enforcement Agency, and State 
Department. 

10. The failure of Operation Snow Cap led to government- 
backed crop eradication. Despite scoring a few successes. 
Snow Cap was unable to cause serious damage to the drug 
industry. Starting in 1988, the Bolivian government began a 
domestic strategy of enticing farmers to abandon coca in favor 
of other cash crops. In 1997, ex-dictator Hugo Banzer was elect- 
ed president, the following year, Banzer launched Plan 
Dignidad ("Plan Dignity"), a policy whereby the military were 
sent to forcibly remove planted coca. 

POPULAR PROTEST 

11. Among the most significant social organizations in 
Bolivia are those of the coca farmers, or "cocaleros." For the 
cocaleros, it is obvious that a decade and a half of government 
efforts to reduce coca cultivation have failed. In many cases, 




the government has not kept its promis- 
es to help with alternative development; 
many who have tried the programs have 
found that they do not make enough 
money to live on. Since the late 1990s, 
cocalero organizations have taken an 
active role in fighting government eradi- 
cation efforts. 

12. In recent years, Bolivian grassroots 
organizations have forged broad-based 
civic alliances to oppose the govern- 
ment's neo-liberal economic plan. The 

alliances have brought together 
cocaleros, non-coca-growing farmers, 
indigenous groups, university students, 
and urban workers including teachers, 
medical employees, and the police. 
Despite tensions among participant 
organizations, there have also been a 
number of sustained, large-scale actions 
challenging state policy. 

13. In 1995, the government declared a 
state of siege, which lasted six months. 
Every year, the United States govern- 
ment "certifies" countries for foreign aid 
hased on their compliance with US- 
shaped anti-drug policy. The US certified 
Bolivia in 1995 on the condition that it 
would eradicate a certain amount of coca 
cultivation. After widespread popular 
protest, the government declared a state 
of siege, under which meetings were 
banned and many grassroots leaders 
were arrested. 

14. In Apri 2000, the government 
responded to a new wave of protest by 
declaring a state of siege again. This 
time, the central issue was one common 
in countries subject to "structural adjust- 
ment" programs — taking state owned 
services and selling them off. A sub- 
sidiary of the transnational corporation 
Bechtel bought the water rights in the 
city of Cochambamba and raised prices 
as high as 35%. During the same period, 
the country's major campesino union 
organized highway roadblocks to call 
attention to rural poverty and protest the 
forced eradication of coca. President 
Banzer sent in the armed forces, with 
violent consequences: during the two 
week state of siege, the military killed 
six, wounded dozens more, and tortured 
younger demonstrators in order to get 
information about movement leaders. 
The crackdown failed. In the end, the 
government had to negotiate with the 
campesinos to re-open the highways, 
and canceled the water contract. 

15. Mass, coordinated actions by vari- 
ous organizations in September and 
October, 2000 testified once again to the 
strength of Bolivia's political grass- 
roots, but also revealed rifts among 
cocaleros and other groups. Among 
those involved were cocaleros angered 
by Plan Dignidad, campesinos calling 
for land reform, public school teachers 
on strike, and students demanding a uni- 
versity budget increase. Protesters com- 


bined to block roads in rural areas and 
marched in cities. Again, the state 
responded with violence, even after 
negotiations had begun. Ten people 
died, most of them protesters killed by 
the military. The crisis dissolved when 
several sectors separated their demands 
from those of the cocaleros and came to 
terms with the government; the 
cocaleros eventually negotiated an 
agreement as well, though they failed to 
win an end to forced eradication. 

16. In April 2001, a broad-based grass- 
roots alliance mobilized to call for an 
end to neo-liberal economic policy. A 
mass march from Cochabamba to La Paz 
by an alliance of various sectors known 
as the Only National Coordinating 
Committee of Mobilizations (COMU- 
NAL). Among the demands: ending 
forced eradication, implementing agrari- 
an reform, a cessation in the privatiza- 
tion of state enterprises, and a suspen- 
sion of foreign debt payments. Police 
harassed the march, infiltrating it, 
attacking it on four occasions with tear 
gas, and arresting several dozen partici- 
pants who were later released without 
charges. At the same time, teachers in La 
Paz were striking, as were employees in 
the national hospital system. The day 
after the march reached La Paz, trans- 
port workers held a 24-hour, nationwide 
strike. When the government announced 
it would not negotiate with the 
cocaleros, the cocaleros returned home 
and set up roadblocks, labor leaders 
began plans for a nationwide general 
strike. The crisis was averted when the 
government reversed itself and 
announced it would engage in dialogue 
with the cocaleros and also reached an 
agreement with the workers council. 

17. In the summer and fall of 2001, 
cocaleros started to assert themselves 
more strongly against forced eradica- 
tion by the military. Coca farmers began 
blocking military access to areas slated 
for eradication, and security forces killed 
several demonstrators. Cocalero groups 
announced they would launch a new 
round of highway blockades, and the 
government responded by sending 2,000 
soldiers and police into Chapare, on 
November 15, government forces fired at 
people trying to b]ock a road, and killed 
three. A round of negotiations reduced 
tensions, but the talks broke down when 
the government resumed forced eradica- 
tion at the urging of the United States. 
Public opposition and government vio- 
lence resumed as well: on December 6, 
while the Bolivian President was in 
Washington D.C. to discuss trade and 
anti-drug policy with George W. Bush, 
security forces tear-gassed and shot 
members of a peaceful cocalero protest. 

18. In January, 2002, the government 
escalated eradication efforts by ban- 
ning the sale of coca for traditional con- 


sumption (not cocaine processing) in 
Chapare. Troops shut down previously 
legal markets, and cocaleros responded 
by rioting; four security personnel were 
kidnapped and killed. A protest march in 
Cochabamba drew in participants from 
urban workers' groups, university stu- 
dents, teachers, anti-water-privatization 
activists, and others. The government 
eventually suspended the plan to crimi- 
nalize the previously legal coca market 
sites, first for 90 days, and then for the 
remainder of the presidential adminis- 
tration's term (which ended this past 
August). US officials criticized the gov- 
ernment's move as compromising drug 
war efforts. 

STATE REPRESSION 

19. Forced eradication has set off a spi- 
ral of violence in which sectors of the 
Bolivian police and military have been 
the primary perpetrators. In recent 
years, cocalero self-defense organiza- 
tions have carried out numerous acts of 
violence, including kidnapping and 
murder, against government security 
personnel. Government security forces, 
in turn, have themselves come under 
scrutiny for repeated civil and human 
rights violations. Groups such as Human 
Rights Watch and Amnesty International 
have identified Chapare as an area of 
particular concern, documenting cases of 
detention without cause and the use of 
excessive violence by police. Bolivia's 
Permanent Human Rights Assembly 
reports that there have been a total of 57 
cocaleros killed by state security forces 
since 1987. 

20. Current trends suggest state security 
forces can violate human rights without 
fear of prosecution. Of the 57 killings 
documented by the Permanent Human 
Rights Assembly, only three have been 
brought to court, and none of them have 
been concluded. Since March 2001, the 
government has been sending security 
personnel accused of human rights vio- 
lations to military courts, even though 
this violates the Bolivian constitution 
and international accords to which 
Bolivia is a signatory. The concern, obvi- 
ously, is that military courts will be 
biased and hesitant to make a ruling 
against members of their own institu- 
tion, and in fact this has been borne out: 
thus far, no defendants have been con- 
victed. US law forbids the provision of 
aid to security forces guilty of such 
crimes, but embassy officials favor the 
Bolivian government's version of what 
happened in any given case. The 
President of the Permanent Human 
Rights Assembly remarks of the US, 
"They talk about human rights and pres- 
sure the Bolivian state to carry out forced 
eradication, which is a synonym for vio- 
lence, death, murdered campesinos, and 

| tortured military and police. They put 
up the funds and we offer up the dead." 


r 



THE PRESIDENT OF THE PERMANENT HOMAN RIGHTS 
ASSEMBLY REMARKS OF THE US, “THEY TALK ABOUT 
HUMAN RIGHTS AND PRESSURE TlfE BOLIVIAN STATE TO 
CARRY OUT FORCED ERADICATION, WHICH IS A SYN- 
ONYM FOR VIOLENCE, DEATH, MURDERED CAMPESINOS, 
AND TORTURED MILITARY Afo POLICE. THEY PUT Ul* 
THE FUNDS AND WE OFFER UP THE DEAD.” 



CURRENTLY 

21. In Bolivia's 2002 presidential elections, indigenous 
cocalero leader Evo Morales finished second; the winner was 
a US-educated millionaire. Morales represents two districts 
(including Chapare) in the national legislature, and has main- 
tained his links to the popular base that elected him. He 
unabashedly identifies the United States as the source of the 
destructive drug policy — in October 2000, during negotiations 
with the government on coca eradication, he quipped, "We 
hope the government will consult quickly with the US embassy 
to get us an answer, since they [the embassy] give the orders 
around here." He has been repeatedly harassed by government 
forces, and during the presidential campaign, US ambassador 
Manuel Rocha warned Bolivians not to vote for him. It remains 
to be seen if the new administration will attempt to enforce the 
prohibition on traditional coca markets in Chapare. 

22. Massive grassroots actions continue. In May, indigenous 
and other groups marched on Ba Paz to denounce attempts to 
alter the Bolivian constitution without public consultation. In 
June, several hundred miners put up highway roadblocks and 
forced the government to reverse the privatization of their 
workplaces. Although the new president called for opposition 
groups to observe a 90-day moratorium on protest, the next 
day saw a cocalero organization surround and disarm a mili- 
tary unit making a rural drug bust. The day after that, 
cocaleros fought with military units carrying out eradication in 
Chapare, and there were three marches through La Paz by var- 
ious workers organizations. 

ANALYSIS 

23. Bolivia offers a devastating account of what happens 
when U.S. drug policy is imposed against the needs of 
another country. US ambassador Rocha has commented on 
Bolivia's commitment to eradicate the coca crop by noting, "If 


a time comes in which this commitment no longer exists, be 
assured, our aid will be different. The funds are there because 
of the commitment and without it, the aid will diminish." 
Under Plan Dignidad, cocaine production in Bolivia has been 
greatly reduced through the 90s, but the social costs have been 
significant. In effect, the government's attempts to gain US 
approval and maintain US aid have reduced its ability to pro- 
vide for the domestic population. 

24. Militarizing the anti-drug campaign has class implica- 
tions: the rich get off lightly, while the poor get penalized. 

This is true globally, as the United States government demands 
that countries in the underdeveloped South reduce their drug 
crops, even though the demand predominates in the wealthy 
North. In the United States itself, harsh "law and order" 
approaches to the drug trade disproportionately affect poor 
minorities. Meanwhile, US-designed policy in Bolivia funds 
security forces to eliminate peasants' most successful crop, 
without providing adequate means for people to develop eco- 
nomic alternatives. 

25. Bolivia should serve as a beacon for movements in the 
global North that oppose the drug war and corporate global- 
ization. We don't hear much about cocaleros or opposition to 
the privatization of water in the mainstream media, maybe 
because if people here saw how grassroots activism can really 
work, they might try it themselves. Sometime before his ill- 
fated journey to Bolivia, Che Guevara told a group of United 
Statesians that he actually envied them, because they were 
uniquely positioned to take on the source of so much of the rest 
of the world's hardship. They lived, he said, "in the belly of the 
beast." Guevara's armed insurrection in Bolivia failed, but the 
spirit of a mass mobilization of have-nots that challenges the 
haves is alive and well. People in "the belly of the beast" ought 
to take note. 


Sources 

Andreas, Peter R. and Kenneth E. Sharpe. "Cocaine Politics in the Andes." Current 
History, February 1992. 

Galea no, Eduardo. Open Veins of Latin America: Five Centuries of the Pillage of a Continent. Trans. Cedric Belfrage. New York: 
Monthly Review Press. 1973. 

Gamarra, Eduardo. "Bolivia." International Handbook on Drug Control, Ed. Scott B. Mac Donad and Bruce Zagaris. Westport (CT): 
Greenwood Press. 1992. 

Hudson, Rex A. and Dennis M. llanratty. Bolivia: A Country Study. Washington D.C.: Library of Congress7 Federal Research 
Division. 1991. 

Konigsberger, Hans. The Future of Che Guevara. New York: Doubleday and Company. 1971. 

Ledebur, Kathryn. "Coca and Conflict in the Chapare.' "Drug War Monitor, July 2002. Washington Office on Latin America. 

Weekly News Update oti the Americas. Various issues7 2000-date. Contact wnu@. igc.org for a one-month trial subscription. 


I 




THE NEGATIVES 





\1RK: Tell us the band story of The Negatives. 

Michael “Svegis": In the summer of *99 1 called up Mae and told him 
that 1 was thinking about starting up a punk band. We had discussed 
it before several times while out drinking, but it never came to any- 
thing. I had come in contact with the present punk scene while out 
playing with my other band. The Skalatones. and got so inspired that 
I wanted to be a part of the punk scene again. Mae was interested and 
brought along his long time compadre. the drummer Asp from their 
crust" punk band Shitbrecd. I had already talked to their mutual friend, 
the vocalist J. 1 red so everything was ready for some “back to the 
roots punk rock". Immediately we started to write some songs and 
everybody felt that this was something that was gonna last, this was 
the kinda punk we've grown up with, it just felt so right. This was 
something from the heart, the music we've always loved, so we real- 
ly enjoyed playing together again. We have all played together before 
in other bands like D. f.A.L. and 1 he Bristles during the early 80s. 
After those bands split up around *86-'87 we all played in other 
bands, everything from other punk bands to reggae and rock bands. 
1 he feeling for punk has always been there during the years, even 
though we have been in those other bands. 

At the end of *99 we recorded seven songs lor two dillerent demo 
C Ds. the Punk Rock Revolution demo and the The Negatives demo. 


The two demos were sent to several fan 4 zines, magazines, radio sta- 
tions and record companies. The responses were great, much better 
than we would have ever guessed, after all this was our first seven 
songs and were written pretty quick. 

We played some gigs, including support for The Business at the 
beginning of 2001 and were constantly on the hunt for more gigs. We 
contributed on a couple of compilation CDs and where featured in 
quite a lot fan 4 zines and web 4 zines. We were nominated 44 Demo 
Band Of The Year 2600” in Sweden’s biggest punk/metal magazine. 
Close-Up. In March 2001 we entered the same cheap studio again 
and recorded the three song demo Riots In The Suburbs and it got 
great response. By this time we had some contacts with a couple of 
record companies and a record deal was not far away. 

We recruited a second guitarist and started rehearsing with him when 
suddenly vocalist J. Fred decided to leave the band. What to do? I 
phoned their long time friend, Jyrki, once the vocalist for Swedish 
early 80s punk band Existenz. This went great and he fit in really fast. 

A month later they once again entered the local studio to record two 
new songs, the demo was intended for the record companies so they 
would get to hear the new vocalist. The demo was called 
Insubordination and the two songs on this CD are the same songs that 
were on that demo. And then Trash 2001 Rec. get in contact and 
wanna release the stuff on a split single and on that way it is... 

The Line-Up: 

Jyrki Siikaluoma - Vocals 
Mae Malmsten - Lead Guitar 
Markus Wibom - Drums 
Michael ’’Svegis” Svegbrandt - Bass 
Dennis Jonsson - Guitar 

MRR: Which bands had influence on the style of The Negatives? 
And what are your absolute fave bands (past & present)? 

Michael “Svegis”: My inspiration comes mainly from 4 77-’84 punk 
rock, but we are trying to give it a style of our own and maybe a lit- 
tle bit more up-to-date sound without forgetting their roots. My favs 
are Pistols, Clash, Cockney, Angelic, GBH, 4-Skins, Business and 
100’s of more good old punk bands. Today’s favs are Agnostic Front, 
but the last one wasn’t to good, The Swedes, VOAG, Bombshell 
Rocks. Rancid, Dropkick Murphys, Generators, haven’t heard so 
much but the songs I heard were smashing, Business, Lars 
Fredriksens & the Bastards are also good. There are millions of good 
bands out there. 

Mae: I’m influenced mainly by early punk bands from 4 77-’83 but 
also by some of the present bands such as Rancid, The Business (I 
know they’re both past and present), Dropkick Murphys. I’m also 
influenced by garage punk bands such as Gluecifer, Turbo Negro, The 
Hellacopters (old stuff). Why ain’t there any British bands nowadays? 
I’ve always preferred British punk rocjc, but nowadays I don t hear of 
any new bands, only a lot of reunions of old bands. Absolute fave 
bands, ok: 

Past: Sex Pistols, K.S.M.B., Discharge 

Present: The Business, Lars Fredriksen & The Bastards. 

MRR: What is your opinion about the riots at the G8 conferences, 
especially about the one in Gothenburg? Were any of you there? 
Why didn’t the Swedish police use water cannons, but did use real 
sharp ammunition? 

M&e: The Swedish police have a lot of fascist/Nazi sympathizers 
among them. This is something that the Swedish police and the 
Swedish government don’t wanna admit or deal with. My opinion 
about the riots is that if the police start to use violence against peace- 
ful demonstrators, the riots are 100% ok, but I oan’t find any justice 
in destroying small private shops. Concentrate it to the multinational 
corporations and to fight the police. Riots seems to be the only way 



nowadays to show you displeasure and get 
some attention, the bastard who’s in control 
use more and more police and force when 
they get together for their capitalistic plan- 
ning. They don’t listen to any demonstrators. 
Gothenburg showed that they don’t even seem 
to allow any demonstrators. They must realize 
that if they keep this up there’s gonna be a 
class war in the future. I think it shows how 
stupid the Swedish government is when they 
don’t realize that riots are a fact nowadays and 
when they are going to have this really big 
conference there’s a big risk that there will be 
riots. So like you said, why not equip the 
police with water-cannons just in case. There 
are quite a lot of talk right now here in 
Sweden about prosecuting the police but they 
said that the police didn’t do anything illegal 
when they shot with live ammunition right at 
the fleeing masses. Now the police are free 
from prosecution, justice — no fucking way. 
MRR: What have you released to date? 
And where do you have releases and record 
your music ?? 

Michael "Svegis”: We have released a split 
pic. 7”/CD-single, with the German band 
Electric Hellclub, -on the German label 
TRASH 2001 in 2001. We have two tracks on 
it: "Insubordination” and "Ready Steady Go,” 
Recorded in Sweden... 

Our debut album Rules And Regulations is 
gonna be released on August 31, 2002 on 
Trash 2001 Rec. and recorded in 8 1/2 days in 
the KS-studio in Bottrop, Germany. It has 12 
songs on it. 

MRR: Please describe your sound to any- 
one not familiar with The Negatives! 

Michael "Svegis”: The inspiration comes 
mainly from *77-’84 punk, but we're trying to 
give it a style of our own without forgetting 
our roots. Our lyrics handle topics such as liv- 
ing in society today, greed of power and other 
things we hate or dislike. I think you can say 
that we play a sort of street punk but I don't 
like all these names for punk music... it’s 
aggressive but the music isn’t too fast. We try 
to keep the tempo down a bit but there’s 
power to it anyway. . .and of course we're also 
influenced by today’s bands... 

M&e: Punk rock in the style of early 80s and 
'77 punk with influences from garage rock 
and also 90s influences sound wise. 

MRR: What’s up in Sweden. Please tell us 
about your punk rock world in Sweden. 
How is the scene? Which labels are cool, 
what’s up with politics? Michael "Svegis”: 
Most of the punks play in bands, that’s for 
sure. There is a lot of help if you wanna get 
rehersal rooms cheap, borrow equipment, etc. 
So I can say it’s easy to have a band here in 
Sweden but the scene is shit. With so many 
bands there should be a great live scene, but 
maybe the most people are interested with 
their own band so they don’t care about other 
bands. I really don’t know!? 

Here there isn’t a big rock/pop scene either, so 
that’s says it all. We just have a population of 
8 million spread all around this big country. 
There aren’t so many labels either. Most 
Swedes’ bands are on foreign labels. Burning 
Heart hasn’t signed a punk band for ages. 



* i « ■ *. 

UA| 

1 heir [biggest] interest at the moment is to everyday life and things you have get through 

promote bands like Hives, INC, Division Of in the journey of life 

Laura Lee, which is a real pity. 1 think they Mae: i write a lot of music at home and then 

have a responsibility to give out new fresh we try it out together at the rehearsal place. 

Swedish punk. As they are a big label that had We don't have any band leader or first song- 

a lot ol punk bands before, they really should writer in the band. Me, Svegis and Asp write 

sign new Swedish punk bands, their last sign- all the lyrics, and me and Svegis write all the 

ings of punk bands were VOAG and music, sometimes together and sometimes by 

Bombshell. But Mr. Brett and Epitaph own ourselves, and then present the song at the 

49% of the stock now, so I don't what's up. next rehearsal, but most of the time we 

MRR: What do you think about resurrec- arrange the song differently than it was writ- 
tions of the legendary punk bands? Do they ten from the beginning, 
influence you in any [way] to play music? MRR: What are your next plans with the 
Mae: In one way it's fun that old bands start band? 

to play again, especially when it s an old Michael "Svegis": Gigs, more records, have 

favorite band but in another way I really don't the album out everywhere, do great new 

like it. I he old bands get all the gigs because songs, have people listen to our lyrics, meet 

they've already got a name working for them, great people out there who make the punk- 

so it makes it really hard lor new bands to scene alive, all you great people like you that 
break through and get gigs and record deals. do 'zines, have independent, small, cool, punk 

So il I should make a choice, I would prefer labels that do this thing from the heart and not 

that those bands that reunited just because of for fucking profit, KEEP UP THE GOOD 
making some money should never reunite, WORK... " 

and those bands who reunited because they Mae: Rehearse with our new drummer and 

really wanted to start playing again because make a bunch of new songs, 

they love what they're doing, well they're 
OK. 

Michael "Svegis": Yeah, I also thinks there's 
to many bands that get together again just for 
the money. They get all the attention and the 
newer bands get a harder road to gigs and 
record contracts. Most of the bands from the 
period from ‘77- '84 play again. That's almost 
pathetic. We must give the new bands a 
chance. It can't just be a nostalgic-trip. 

MRR: Who is the band leader and who is 
the first songwriter in the band? Please tell 
us a little bit about your lyrics, which them 
do you take for your music and from where CONTACT: 
do you take the ideas for the lyrics The Negatives 

Michael “Svegis": No band leader, everybody c/o Svegbrandt 
is free to do songs... but mostly me and Mae Tranchellsgatan 75 
do the songs. I he lyrics handle topics such as 261 35 Landskrona 

living in society today, greed ol power and Sweden 

other things they hate or dislike, as I said thenegativesv/ spray.se i? 

before. I he ideas for the lyrics come from wvvw.thenegatives.com 




1 



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Kuolema formed in Fall of 
1982. We (Walde, Juki, He, and Weke) 
thought that we could play hardcore by 
sniffing glue and drinking alcohol. 
Terveet Kadet was from near our home- 
town, Kemi, 25 kilometers from Tomio, 
and we knew the guys from the band. One 
day, we sat down in Walde 1 s attic and 
tried to decide who would play what 
instrument. Walde was the only one who 
knew how to play drums, but he wanted 
to play guitar. So I decided to play 
drums, and Juki was put on bass. We got 
lie to sing. lie sang in a band with 
two of his schoolmates called Hampton 
where they drummed empty cardboard 
boxes and played guitar. You can only 
hear than on the Punk-elaa cassette 
coup ilation that Juki and I put out in 
the early 80s. We first practiced and 
recorded in Walde* s attic. We usually 
recorded every practice, because we 
were so drunk that if we wrote a song 
no one could remember it for more than 
a hour. Hopefully someday those leg- 
endary tapes will be found, but what’s 
gone is gone. At the first practice, 
lie wrote some lyrics on paper, Walde 
came up with some music, and we played 
it as fast as possible. One, two, 
three, four! About 30 seconds later the 
first song was recorded. Walde * s moth- 
er ran upstairs from the yard and asked 
who we were killing. Noting the cir- 


cumstances, that was the best 
reaction, because everyone had 
a new instrument to play and no 
one really knew how to play it. 
But that ’ s the normal way to 
form a Finnish hardcore band. No 
one can play their instruments, 
but we have the willingness to 
make some wonderful noise. 

Once we had written a few 
songs, we had to start thinking about 
booking shows . We played a show in 
Syke, a local youth bar, with a shitty 
local youth band. We had been practic- 
ing for three or four weeks and we had 
a set of six of our own .songs, plus 
Lama's "Jeesukset". We were very drunk 
backstage before we went on, and we 
swore that Kuolema would only play 
seven songs. So we got to play. 
Wonderful, we thought, Kuolema* s first 
show and five minutes of music, tops. 
It would be nice if I could remember 
something about that set , but all I 
remember is that I hit the drumstick 
through the drum head. After a few 
months we got our own gig, paying 1500 
marks. We were required to play two 
forty-five minute sets and no alcohol 
was allowed. When we signed the con- 
tract, we knew that we would never get 
the money, because we don't play sober 
we only had 15 cr 20 minutes' worth 
of songs. We thought that we could play 
the set four times and no one would 
notice. We went onstage drunk as apes 
and the shock was hard. The house was 
full, everyone wanted to see the town's 
drunk punks playing a show. During the 
first song, lie broke the microphone by 
throwing it against a wall. Then 
Walde's guitar equipment broke. We 
tried to keep playing, but it didn't 


work out. Then the equipment was fixed 
and we played "Huora" and half of 
Terveet Kadet 's "Vapaa Pohjola" before 
the equipment broke again. After that, 
the gig was finished. The Syke bar was 
normally a peaceful place, but that 
night someone pissed and shat in a cor- 
ner! The next gig was in Oulu, the 
biggest city in North Finland, in 1983* 
The gig was in a house called Bauhala. 
There was a small, round stage and a 
lot of punks around it. There are a few 
songs recorded from that show on 
Kuolema* s Noise Not Music CD. This gig 
was the best one. We played 20 minutes, 
as hard as possible. It was some kind 
of hardcore party, other bands like 
Kaaos and Terveet Kadet played. After 
that was gig number one, the Finnish 
independence party on December 6, 1983* 
in Bovaniemi, the North capital of 
Finland. We played with Kaaos, Terveet 
Kadet, Varaus, and more. Walde also 
played in Terveet Kadet and he wanted 
to be sober for Terveet Kadet 's set, so 
they played, then some other band 
played, and then Kuolema. The rest of 
us had already drank two bottles of 
wine, which was our nornal amount. 
Walde wasn't as drunk as us, so he 
drank some booze very fast. I thought 
we played well , but then Hike from 
Bastards turned off our power. What a 
pisshead! Hike Bastards, a very fitting 
name for this man. Before that gig he 
was our friend. We had exchanged let- 
ters and cassettes with him. Even the 
Bastards' Uaailma Pal as. Ja Kuolee EF's 
thanks list starts with Juki & Weke... 
And then this bastard turns off our 
power. That guy was a shithead that 
night. 

That was the last time that 
Walde played in Kuolema. In February of 
1984 he fell from a balcony and died. 
We were pretty sad and we didn't know 
wAat to do. But we decided to continue 
with Makinen from Hutto (a hardcore 
band from Tomio) on guitar. We prac- 
ticed with him for a few months. Gig 
number five was in Oulu again, another 
hardcore party. I don't remember any of 
the bands except Kaaos (because we 
drank with them). Our set was great, 






We 

glu 


i 


-hatl we ?could 
dcore b>y sniffing 

drinking alcohol. 


but afterwards 
lie went to 
smoke outside 
of the build- 
ing, where some 
cops grabbed 
him and threw 
him into a 
waiting cop 
car. They also 
jailed another person. So 
Kuolema played five gigs. In the summer of 1983 we should 
have had a gig in Lepakko, Helsinki, the capital of Finland, 
but half of the band was spleeted by the influence of alco- 
hol. The gigs were played, but the band forgets. The biggest 
reason for Kuolema 1 s splitting was Walde's death, but there 
were other things, too. He, Juki, and I became total alco- 
holics and stopped being interested in anything besides 
drinking. Then I- had to go to civil service in Tomio, lie 
moved to Kuopio, East Finland, and Juki moved to Helsinki, 
where he started to use drugs. In those circumstances it was 
hard to get the band started again- 1 didn't even think there 
was a chance. 

But back to those good Kuolema times. In the begin- 
ning of the 80s a lot of hardcore and punk shows were being 
organized in Lepakko. Usually every band playing those par- 
ties was from Finland. Near Lepakko there was Lasol-house, 
an aband on ed house, where a bunch of punks and drunks lived 
and you could sleep for free. The nastiest memory from 
Lepakko was from one weekend, when we played our own show 
in Lepakko. Juki and lie spleeted Lepakko 1 s backyard that 
afternoon under the influence of alcohol. Discharge had to 
play that Monday night. They played, but on Monday morning 
we all had hangovers and no money. Our designated driver 
Teppola said that he wanted to drive back to Kemi, because 
he was hungry. So what could we do, it was his decision and 
his car. I dicta 1 1 get to see Discharge, which still makes 
me angry. Vilenius from Propagand Records put us on the 
Hardcore *8} compilation LP, where we have one song called 
"ipara''. This song was bom in Juki’s parents’ home. We took 
Terveet K adet ’ s ’’Pissaa and Paskaa” song, played it faster, 
and Juki and I sang. The first Kuolema recording was ready. 
It was only one song, but that was enough for us. The postage 
to other countries was so expensive for us, like I'm sure 
it was for other hardcore bands. We had to sell the Punk- 
elaa cassette, Bastards EP, and Kuolema. We sent tapes 
everywhere. We did interviews with little magazines from all 
over the world: Finland, Sweden, the Netherlands, UK, USA, 
and Brazil, where, strangely enough, most of the mail 
from. There were also some Japanese punks that were inter- 
ested. The best of what I can remember of the Netherlands 
was Larin, who played the same kind of noise as we did. We 
seemed to be most popular in Brazil, because of all the let- 
ters, zines, records, and tapes we got from bands like 
Sepultura, Olho Seco, Ratos de Porao and lot of others. 

I played bass in Tauno ja Taatelintallaajat from 
1987 to 199^, during which I was kicked out five or six 
times. Tauno ja Taatelintallaajat wasn't HC but more of a 
Finnish drunk punk band. The guys in the band weren't too 
into alcohol, so I changed my booze to cannabis with the 
result that I was dismissed from the band many times, and 
finally for good in 199** • 1 last played in Tauno ja 

Taatelintallaajat-I haven't played in any band since. Juki 
moved to Helsinki in 1986 and stayed in South Finland from 
1986 to 1996. He was a junkie who burned out in 1996, when 
he stopped using heroin and speed. Makinen disappeared in 


1990; he was last seen in Helsinki. lie moved to Kuopio, 
living the family life, then he moved to Helsinki in 1996. 
I squatted a house in Kemi from 1987 to 199?, when I burned 
out from drinking too much alcohol. In 1993 I changed from 
booze to cannabis and I haven't seen lie since that year. 

In 2000 Juki and I started traveling the world. 
First, six weeks in Thailand, then six weeks in Spain and 
Morocco, then back to Thailand for three months. Then we 
went back to Finland for six months, then back to Thailand, 
where we lived for one and a half years. In Thailand we 
started drinking again and after drug and booze problems, 
burnouts, local fevers, and other things, we came back to 
Finland, traveling first to Singapore and Denmark in 
September of 2002. In Thailand Juki and I mada the decision 
to continue our musical experiences and we started to plan 
a new hardcore band. The problem was that we didn't want to 
live in Finland anymore. In Denmark we found a house where 
some punks and anarchists lived. We played our CD to the 
house's punks and we all agreed to start a band. The pro- 
ject's name is Noise Not Music. The name and vocals had to 
be changed to English, but that wasn't a problem. In January 
of 2003 we heard that lie had started Kuolema again in 
Helsinki in 2001 and that they had started to play gigs. 
That was OK with us. lie has Kuolema' s nama on his band and 
Juki and I use the Noise Not Music name. We wish the cur- 
rent Kuolema the best of luck, and lie too. We'd like to see 
the new Kuolema- it would be nice to see a band now that we 
started over twenty years ago. In February of 2003 Juki and 
I started our journey again, this time to Denmark and the 
rest of Europe. Before summer we will come back with our new 
CD on hand. Noise Not Music will kick people so they can see 
that hardcore is still alive. 

Kuolema recorded every practice, so we got materi- 
al to send to the world. We didn't remember every time how 
to play our songs, and therefore every recording was a won- 
derful mixing. Tapes were usually sent to magazines. 
Magazines from other lands were sent to us and Kuolema was 
on many conpilation tapes in the Netherlands, the UK, Japan, 
USA, and especially Brazil, but after twenty years every- 
thing has disappeared. I now especially want to find out if 
anyone 1ms other music from Kuolema that is not on the Noise 
Not Music conpilation, so if you do, can you please contact 
me and record those tapes for me? My e-mail is protoplas- 
ma55^otmail . com. All other mail is welcome too. If somebody 
wants to get in touch, please write to Weke Riikonen, 
Tapaninkatu 6 A 2, FIN-94100 Finland. 




the member’s newly formed label# 

After the release of the first single, a two month 
tour of the U.3. was booked 07er the summer of 1994.3hortly 
after the U.3. tour Tony left the band# As a four piece the 
group released the second single, the Sum BP in 1995 and 
left for a short tour of Canada and the U.3. Upon returning 
we quickly went back into the studio and began work on their 
first full lenght LP. In the fall of 1995, we set out on an 
Bast Coast tour with The Pinal Taming,, The Casualties and 
the 7arukers_and then it was off to Burope. A tour single 
was rush released in Milan, Italy to coincide with the 
European tour in 1995. This was the third single. It con- 
tained a few unreleased tracks and the title track from the 
forthcoming LP. Two and a half months and 19 countries later, 
we returned and took a much needed hiatus. It was not until 
our return that the debut LP No Future Ho Hope was released 
in early 1996 on the U.3. label Mind Control and the European 
pressing on the German label 3kuld Releases. 

After the European tour, Kelly left the band and was 
replaced by long-time friend Chris on bass. The fourth sin- 
gle, the Ho Time BP, was released on Profane Existence 
records and followed up by an Bast Coast tour in 1997. The 
first gig of the tour was in Minneapolis, MU. This was to be 
the setting for the infamous "Bomb* Shelter Riot." 


Defiance ha7e been a long time fa7orite of 
mine. Playing infectously catchy punk which 
brings to mind the best moments off the Funk 
and Disorderly comps, their records get pretty 
hea7y play around the MRR house. Go, after 
nearly wearing out their records, I figured it 
was time to pick their brains. Inter7iew con- 
ducted by Mike Thorn 7ia email answered by Mike 
and Matt from Defiance 

MRR: Let’s start out with the history of the band Mike’s 

the only original member, right? Why so many line up changes 
orer the years? To those who don't already know you, how 
would you describe Defiance? 

Mike: Defiance began in the winter of 1993 out of the ashes 
of Deprized, Resist and Unamused-Portland' s three most noto- 
rious anarcho-punk bands of the late 80s and early 90s. 

The first line-up of Defiance consisted of myself 
(guitar/vox) from Depri7ed, Tony (7ox) and Kelly (bass) also 
from Depri7ed and Resist, Alaric (7ox) from Unamused, and 
Brie (drums). After a few short months and a couple local 
gigs, studio time was booked and our first two singles were 
recorded in one session. These Sessions produced what were 
to become our first BP in 1994 on Consensus Reality one of 






< < y 


Shortly after Defiance erupt- 
ed into their set the show was 
interupted by the Minneapolis police, 
Forty squad cars arriyed and punks and 
police clashed outside of the club 
resulting in several arrests and sever- 
al injured police. 

Upon returning to Portland, we 
Began looking for a second guitarist. 
This was to be Matty from the Portland 
punk band The Obliterated (who oddly 
enough had been in7ited to join at the 
original formation of bthe band back in 
1993). The addition of Matt on second 
guitar pro7ed to be essential to a 
fuller sound li7e. After a short Test 
Coast tour in 1993 with The Riffs, came 
the long awaited second full-length LP 
(again on Mind Control Records) titled 
Nothing Lasts Forerer* 

After the release of the LP 
European and Japanese tour plans were 
made. Alaric (Gibby) and Brie (Ififf) 
decided to pack it in... Shortly fol- 
lowed by Chris. It looked as if maybe 
the title of the second LP may ha 7 e 
been the final irony for the band... 
but after a lot of thought, myself and 
long-time member Matt began writing new 
material and recruited two new members: 
Alan on bass and Bri on drums, and 
quickly rushed off for a short tour of 
Mexico in the spring of 2001. 

The new blood with the combi- 
nation of Mike and Matt on 7 ocals and 
guitars pro7es to be the best line-up 
thus far. The third full-length LP Out 
of the Ashes was released in August of 
2002 on Punkcore, followed by our 
first full U.3. tour since 1994. Te 
completed the hugely successful tour 
with an appearance at the 2002 Holidays 
in the Sun Festi7al in Hew Jersey. Upon 
arri7al back to Portland it was back in 
too the studio for four new songs for 
what will become our fifth single. The 
new single will be released in the 
spring of 2003 on Punkcore simultane- 
ously with a complete singles collec- 
tion of all our pre7ious out of print 
BPs. In March of 2003, we will be tour- 
ing the Test Coast with UK’s Icons of 
Filth, and plans for another Buropean 
tour are in the works for the summer of 
2003. 

As far as line up changes go, 
07er a ten year period people change as 
do their relationships I don’t know 
many bands that ha7e the exact same 
line-up after this long, let alone 
still be a band. As far as me being the 
only original member it would ha 7 e to 
be because the band means a lot to me 
and I’7e put countless hours of work 
into it. I don’t feel it’s time to stop 








going on with our releases, so we chose 
to mo7e on 

MRR: Speaking of Punkcore hare you 
caught any flak for being a band that 
has always been identified as being 
anarcho, being on a label which has put 
out nationalist skinhead records? 

Mikes Ho, our lyrics or what we are 
about hasn’t changed since day one. As 
far as the skinhead stuff that came out 
in the early years of Punkcore-it has 
nothing to do with us. 

MRRs Can you tell us about the song 
"Missiles" from the new album? Thy do you 
feel it' 8 important to sing about that? 


Mike: Then we wrote this song, the US 
was in the process of in7ading the 
country of Afghanistan. Then this 
inter7iew comes out they will probably 
ha7e already in7aded Iraq... again. 
Anyway the song is about the fact that 
people don't really e7en think about 
the reality of war until it’s at their 
front door or until it’s too late. I 
think it’s important to sing about 
since no one really seems to care 
enough to do a fucking thing about it 
MRRr You played Holidays in the Sun 
this past 8ummer v what was it like? 
Good experience? Bad? Veird? Mixture of 


all three? Explain, Is it just a dinosaurs of punk rock con- 
rent ion? 

Matt: It was kind of all three. It was cool to see some of 
those old 80s >JK bands that I had never had a chance to see 
before. Got to meet some very cool people, met punks from 
all over the place. That aspect of it was cool. It’s always 
fun to meet different punks from far away and you can iden- 
tify with them. It makes you glad to be a part of it. There 
were the random assholes though. Just idiots who hare no clue 
as to what it’s all about. Some Nazis showed up and started 
shit while we were playing. That really pissed us off. 7e 
started talking shit to them and people in the crowd threw 
them out. It was cool that people did that because it showed 
that crap wasn’t tolerated there. Other than that happening 
the festival was pretty good. 

I Mike: I had a lot of fun there was tons of people and two 
stages and I think there was actually more new bands than 
old, but with two stages you can pick what you wanna see and 
do whatever you want. 3ome of the older bands are obviously 
just in it for the money but some just haven’t changed and 
I think that’s really cool. 

URR: Portland is klnda famous for haring millions of inbred 
bands going on. Are you all playing in anything else beyond 
Defiance right now? If so what, and what are they like? Is 
it the weather up there that makes everyone stay indoors all 
the time and play in bands? 

Matt: I was playing with Poison Idea but I quit recently. 
That was a lot of fun but I’m glad to be doing just one band 
now. None of us are really doing any other projects besides 
Defiance right now. I do play records on punk night at a 
local bar. It’s a lot of fun. I just get drunk and make 
everyone else listen to what I want to hear. Its called D78 
if you’re ever in Portland on a Wednesday night. I think the 
weather up here turns people into serial killers and mass 
murderers. This religious fanatic just killed his wife and 
kids a few weeks ago up here. That happens quite a bit. There 
are a lot of serial killers from the northwest. I think the 
constant rain and clouds make people depressed and they go 
nuts. 

MRR: Tell me about the scene in Port land-bands, venues, other 
projects etc. 

Matt: There are some really great bands in Portland. The 
Riffs, of course are great, Hellshock are good Swedish style 
hardcore, two ex Defiance members, Gibby and Niff, are in a 
new band called Bloodspit flights and have just put out a new 
EP, and it’s awesome. I don’t know, there are new punk bands 
constantly popping up; most of them are really good. I think 
most of the 7enues going now are not that great. There are 
a few good ones though. The scene here is pretty strong, I 
think. It goes up and down here as with e/e ry where else. 
3ome times it’s good, sometimes it’s shit. 

Mike: The scene here is really cool. It’s pretty big for a 
city the size of Portland. I mean there are a lot of younger 
and older punks that hang out and it’s not as di/ided as it 
has been in the past. A lot of new people seem to be mo/ing 
here after they visit, so it just keeps getting bigger. It 
seems like there is always something going on, which keeps 
e/eryone pretty busy. As far as /enues the are mostly 21 and 
o/er ones and only really one all ages one, but it could be 
worse, I suppose. 

MRR: Is Defiance a political band? Do you think punk is 
political? Should it be? Way or why not? I ask this because 
a good deal of the "studs and spikes" scene seems to likes 
to frame itself as being apolitical, do you agree or dis- 
agree with this notion? 

Matt: Yes, we are a political band; I would be lying if I 
said we were not. Ue write political songs. Te don’t want to 


preach to people but our songs do reflect our ideas and 
beliefs. Howe/er, I don’t think that punk should or should 
not be political. I think that the attitude is what makes a 
band stick out. There are great punk bands who are politi- 
cal and there are great punk bands who are not. As far as 
the studs and spikes scene being apolitical, up here that’s 
not the case. Most of the people here ha/e definite ziews 
e/en if they don’t admit it. I think some of that crowd else- 
where may be like that but if they listen to us they may 
realize that there is more to punk than just spiked hair and 
studs. 

Mike: I think punk is different to e/eryone but to me it’s 
a form of rebellion against the mainstream (music, fashion, 
and politics) as mainstream music offers nothing real or any- 
thing that isn’t superficial. Tith how long Funk has been 
going though, there are going to be people who latch on to 
different aspects of the sub-culture. For some it seems to 
be the fashion, for others the music, and for some the pol- 
itics. I think we combine all the elements, but we’/e always 
written "political" or "personal political" lyrics. It’s 
kind of hard to label your own band, eh? 

MRR: Tell me about the song "Terrorist Attack" from the new 
album. What is it all about and what prompted you to write 
it? 

Mike: "Terrorist Attack" was written just after the 

September 11th attacks. It was prompted by the attacks them- 
sel/es and also by the nauseating flood of patriotism that 
shortly followed. The fact that no one e/en stopped to ques- 
tion why the U.S had been attacked was crazy. I think it is 
zery sad that so many innocent people had to lose their li/es 
as a consequence of U.3. foreign policy. Basically, how many 
more people ha/e to die before people realize the terror of 
capitalism and worldwide U.S. Imperialism? 

MRR: Who* 8 more frightening? John Ashcroft or Tom Ridge? Or 
is Dick Cheney worse than the two combined? 

Mike: They are all shit. 

Matt: They all like to eat shit. 

MRR: Favorite five bands, current and dead. 

Mike: The Clash, Conflict, The Partisans, Cockney Rejects 
and Motorhead. 

Matt: Discharge, English Dogs, The Germs, ABBA, and the 3ex 
Pistols. 

MRR: Worst thing to every happen to you on tour, embellish 
if you want. 

Mike: Well it’s probably not the worst, but on the last tour 
we were lea/ing Oakland and the hood flew up and shattered 
the entire windshield. After that we got on the wrong free- 
way and had to back track for two hours to get back to 
Oakland, just to dri/e for eight more to try to get to one 
of the biggest shows on the tour in LA (which we almost 
missed )• But because it was a weekend and we had straight 
shows every night, we couldn’t get it fixed ’til flew Mexico. 
3o we drove for like three states with the entire windshield 
flapping in the wind, wondering when it was going to come 
crashing in on us and kill and maim us all. 

MRR: Closing comments, anything else you want to add/talk 
about? 

Mike: Thanks to Mike and MRR for the interest and for the 
interview. As mentioned earlier, we are preparing for a tour 
in late March with UK Anarcho band Icons of Filth. Then later 
this summer we will be going to Holidays in the Sun UK and 
then Europe again for the first time in like seven years so 
we’ll see you all at the gigs. Cheers, Up the Punks. 



Official Defiance website ats 
http : //op76 • subportal .ws/ 
or email : PDXPunks@aol.com 

DEFIANCE 
1951 N. BURNSIDE 
NUMBER 1654 

PORTLAND, OREGON 

97209 





mwKmwwsWokMI&lMtli m'M i] 


t/e/f 


(Checkout 

iirubbmi^^ 




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SmOG UEIL 

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31 B California Due "20? 
Reno, HU 89509 USR 


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SOUTHERN, STICKFIGURE, CARROT TOP. SUREFIRE, MORPHIUS, DAVE HIU DISTRIBUTION, CHOKE, 
SUBTERRANEAN. FORCED EXPOSURE. GET HIP SCRATCH (CANADA] & CORDUROY (AUSTRALIA) 


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jii ^rattuw!i;ft',c'fai cent 


RAT TOWN RECORDS 
Title Price 

Ringworm - Seven inches the hardway 7" $3.50 

Harsh - Liquid Diet 7" $3.50 

Powerball- Frozen Sun CD $8.00 

Ringworm - Last Call... CD $8.00 

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V/A - RAT TOWN Como. #1 7" $3.50 

The TJ. Hookers, 12 Fluid Ounces, Ringworm, Jug or Not 
V/A - RAT TOWN Comp. #2 CD $8.00 

with • Harsh, Powerball, Dulse Swade, Leech Milk, Leg bone. 

Load, Barbarosa, Hawg Jaw, Reeb, Icepick-Revival, Tanked, 
Weedeater, and Splckle. 

Other Labels 

ANTI-SEEN- "Boys From Brutalsville" - CD $12.00 

BLACK FLAG - "Everything Went Black" - 2xLp $12.00 
Cream Abdul Ba barf Mira "The Space Ep" 7" $5.00 

Crucial Unit/Municipal Waste • split - Lp $8.50 

DICKS - "1980-1986" - CD $12.00 

DRI - "Dirty Rotten Lp" - CD $13.00 

Electric Frankenstein - "Rocknroll Monster" - CD $12.00 
Four Wheel Drive - s/t - 7" $4.00 

Hellstomper - "Hell bent for Dixie” - CD $8.00 

His Hero Is Gone - "Monument To Thieves" - Lp/CD $12.00 
MIA - "Lost Boys" CD $12.00 

Pagans - "Pink Album" - LP $13.00 

Skitsystem "Enkel Resa Till Rannstenen" Lp/CD $9.00 
Spazz/Romantic Gorilla - "Split" - Lp $8.50 

The Stooges - "Double Danger" - Lp $10.00 

Verbal Abuse - "Just An American Band" - CD $13.00 
V/A - Dischord 1981 "The Year in 7"s" - CD $12.00 

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V/A - RKL Tribute "For Those About To Trip"- CD $12.00 
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V/A - Minor Threat "Live" - VHS $20.00 

Ordering Information 
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ali price ppd in USA. overseas add $1-7'' $2 • LP/CD 
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(troubleman) - $1050/$1050 
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Barbara Ann 


ram? 



F5RTY 


TPR011 Far From Breaking ’Made My Choice’ 
T Old school hardcore influenced by Atari and 
Chain of Strength. T on Youngblood soon? 

TPR010 No Time Left Zero Effort Solution' 
CDEP Positive lyrics, blazing fast parts. and| 
thunderous 7p sj^ck_breakdow^ 

ONxALERT Demo CD-R This band was called 
“Youth Crust" in more than one review because! 
it’s SXE , fast, dirty, punk, and piss ed. 

TPRQ12 Bndging Oceans SXE Comp 10 " in the ! 
\vorks 1 Out late spring or early summer* j 



|7/CDEEjs$£^^ 

|S5555SSSnPl 

I Cash. MO's. or Paypal only! NO CHECKS' 
Make MO s out to Nick Baran NOT Third Party! 


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"Ode to My Freaks" 

cd 

special limited-edition transparent 
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TiRBAN W ASTE 12 ” f CD IT 

A re-issue ot the sole EP by one of the most sought alter and 
enigmatic bands from the earliest days of New York hardcore 
: Despite the obscurity of the original release Urban Waste was 
‘.made famous through their signature style of blown-out over the 
top hardcore punk replete with trademark menacing buzzsaw 
guitars and piercing vocals. (Attention. Due to a misunderstanding, 
there will unfortunately be NO bonus tracks on this release ) 

US distribution Ebullition Stickfigure. Choke Dave 
Hill Some Strange Music. Subterranean and others 

European distribution Green Hell and X-Mist 
Japan: Record Shop Base 


1NIHILISTICS IT 

hi I h I |/>j kX Re-retease of this seminal New York hardcore punk band's 1983 debut al- 

m N I H / ll l// bum pressed onto vinyl The Nihilistics originally hailed from Long Island but 

1 1 1 1 1| yf 1 1 * f gigged around Manhatten in clubs like A7 CBGB’s, and the Mudd Club and 

1 l r/ i / appeared on the legendary New York Thrash compilation with the Beastie 

Boys the Mad. and the Bad Brains Through their wild live shows they de- 
veloped a reputation as one of the most damaged and misanthropic bands 
in New York City 

IHE DAI) TORM /” 

The debut disk of a maniacal whirlwind of rock n roll madness from this ^ v 

NJ band Followed up by an appearance on TMU s "Troubleman Mix Ajjr 

Tape" and an EP on the Youth Attack label Too well versed in early Jmm * , 

hardcore and dissonant no wave to be able to be called a garage rock . 

band in good faith (Last copies left!!!) 


IIIE 3 KAIiS: Villi TO TCRFECnON ("II 

Vaudevillian deathrock with a carmvalesque new wave sound from this veteran 
NY band Says Punk Planet they should play with the Faint, but theyd probably 
scare the audience 



). I A, 


lr 

I m .-a 


Coming soon: Out Cold/ 9 Shocks Terror split LP 
Outpatients- 1982-1984 discography (tentative) 

And much more to come 


The website is now up: www.matwrecords.com 







Orchid 
n6 pages 

Sparkplug Comic Books 
PO BOX 10952 
Portland, OR * 97296-0952 
www.sparlqtlugcomlcs.com 


This is a collection of macabre stories 
adapted to comic form by underground illus- 
trators, many of whom are independent pub- 
lishers as well Some of these artists are very 
familiar to me, like Ben Catmull who lived 
across the street from me in Oakland and pub- 
lished a zine called Paper Theater. It was 
mostly comprised of comics that were not 
unlike his work in Orchid — short, gloomy, and to the point. That’s show- 
ing quite a bit of restraint for a guy who drinks as much coffee as Ben. 

Another artist who appears in Orchid is Jesse Reklaw, and you may 
have seen his work (Slow Wave) in your local weekly paper, as it is now 
appearing in various publications. The premise for Jesse’s comic strip is 
that his readers send their dreams in, and Jesse illustrates those dreams 
into a comic strip format. His work in Orchid is a collaboration with Lark 
Pien called The Story of The Demonic Pacheco, and it is a great rendering 
of one of the most entertaining tales Orchid has to offer, and it also sets 
the bar fairly high for the rest of the contributors that follow. The comic is 
illustrated in a flowing, ghostly manner, which mirrors the tale involving 
she-devils, adultery, and possesion. There is an atmosphere created, and 
like all good stories, this one leaves you to your imagination at the end. 
Always leave them wanting more. It works for comics too. 

The Raven, as adapted by David Lasky is a straightforward affair in it s 
telling of Poes classic tale, but the comic is almost Hitchcock-like in its 
exceution and its analytical approach to composition. Very well planned, it 
toys with the readers sense of suspense, and before you can complain that 
The Raven has already been adapted one too many times, he has you firm- 
ly by the throat. 

There is much more to discover in Orchid, and in doing so you will be 
supporting an underground network of artists, writers, and publishers who 
do what they do for the love of it. sThat kind of passion in the arts is what 
keeps the underground relevant and neccesary, now more than ever. 

— Jay Unidos 




Not often do I get such a timely book to 
review. As some Americans rush to hardware 
stores to buy duct tape and plastic sheets to 
survive a FEMA-warned chemical weapon 
attack, I read in Final Frontier about fake air 
attacks on New York City designed to convince 
the residents of this country's largest city, and 
those who really make these decisions, of the 
need to devote as much money as needed to 
the development of war technology. 

As if to prove that little changes, these fake air attacks occurred in 
1921. Despite the fact that it was not possible technologically, General Billy 


The Final Frontier; 

America Science and Terror 
Dominick Jenkins 
312 pages • Verso 


Mitchell organized the fake gassing of major US cities to manipulate the 
fears of a post World War I populace In this book, Jenkins details the his- 
tory and ideology behind war technology. And of course, because the same 
people and interests still control the budget, it's a warning for the future 
as well as a chronicle of the past 

One of the most interesting themes is that while using an imaginary 
enemy and “outlaw states” as a way to advance the power of technologi- 
cal, military and expansionist interests, the US actually has helped create 
such possibilities, “...in seeking to secure themselves against imagined ter- 
ror in the past, Americans have ended up exercising terror over others and 
contributing to the creation of a world in which such terrors are real”. 
Jenkins details claims like this thoroughly and the implications to today’s 
situation are obvious. 

Jenkins is a longtime anti-nuclear activist, having worked for 
Greenpeace, Friends of the Earth and the Campaign for Nuclear 
Disarmament. There are many parts of this book that I would recommend 
on their own. Jenkins discusses the rationale for a US imperial state, inter- 
ests of different groups within the power structure and debates the merits 
of what he calls “pure science” vs. “deep science” in what was to me, the 
most unique section of the book. 

This book is so detailed, and packed with so much information that it 
would be impossible to mention everything covered within. And though it's 
claimed to be written “in the manner of a detective story” I must mention 
that it's a much slower read than that. It is however, a very valuable read 
especially in this time of permanent war against terrorism 

— Gordon Zola 



Bioterror: Manufacturing Wars 
the American Way 
80 Pages • $9.95 
Ocean Press 

www. oceanbooks.com.au 


IMOTEltllOll 


Manufacturing w Thr American Way 


The co-founders of CovertAction Quarterly 
have reprinted these essays — written 
between 1982 and 1993 — just in time to 
remind us, in this time of fear and war, that as 
usual, the USA is the biggest perpetuator of 
covert and overt biological warfare this world 
has seen. 

These nine essays, including an introduc- 
tion from the editors, cover a diverse range of 
countries, eras, and styles of biologies, beginning with the smallpox-infect- 
ed blankets given to Native Americans in 1763 and concluding with the pos- 
sibility that the USA gave money to Iraq in 1989 to build chemical and bio- 
logical agent factories: Iraqgate. All of the articles are relatively short and 
to-the-point, with little background but extensive footnoting This is a good 
book to read, and it won’t take much time from your busy schedule to do 
so. 


Usually books written on this (and related) subjects are fucking long 
and dry, and while the info presented here isn’t exactly exciting, the edi- 
tors manage to keep interest up by the brevity of writings selected and the 
(almost) fantastic nature of some of the more covert actions. Some of these 
being: Zimbabwe’s anthrax epizootic, ’widespread chemical and biological 
warfare against Cuba dating back at least twenty years, weather modifica- 
tion, involuntary birth control pill studies in Haiti, and clouds of bacteria 
released over San Francisco in 1950. Also discussed are topics most folks at 
least are marginally aware of, like Agent Orange and its connection to 
American based transnationals, and Gulf War Syndrome A tiny history of 




international law covering biologicals in wartime is given to the reader as 
well. 

Now, while this is good shit to know, the purpose of this book is 
broader than just fact-distribution. The main effect this book has, and its 
underlying point, is that the USA can do anything it fucking wants to do. To 
anybody. Anywhere, at home and abroad. And really, nothing can stop it. 
Check this book out, and start wondering what they are putting in the 
water. 

— Jake Filth 


Document: A Story of Hope 
edited by Niall McGuirk 
160 pages • $10.00 
Hope Publishing * 31 Hazel Road 
Donnycamey 
Dublin 9 * Ireland 
www.thumped.com/hope 

To document a series of events and apply 
meaning is the story of punk rock. Singular 
events and gatherings somehow have a larger 
contextual meaning for some of those 
involved. The Hope Collective was formed in 
the mid 80s by kids in Dublin who wanted to 
stage shows for their bands to play, and to see 
some of their favorite bands without having to 
travel far and wide. The idea of Document: A Story of Hope was to docu- 
ment shows that the collective put on, accompanied by vegan recipes from 
performing bands and recollections of the shows by bands and collective 
members. Niall McGuirk painstakingly undertook this task of compiling 
experiences and lists of ingredients. 

As anyone who has tried to get punks to show up to band practice or 
write something for a zine or start a bike gang knows that getting things 
done, even in your own town, can be difficult. Try a worldwide search for 
contributors. This difficulty, it seems, dropped a majority of the writing on 
to Niall’ s shoulders. He describes different shows without monotony, 
which is commendable. It would have been fascinating to have had the 
bands add more about their trip to Dublin and their experiences, but some 
of the stories collected from bands are priceless. 

The first show held by the Hope Collective was in June 1984, truly an 
exciting era for punk. This was a different time for the music and the com- 
munity at large. Information about touring and contacts that are now read- 
ily available were being charted in the unknown waters of underground 
punkdom at that time. Though punk was thriving in the early 80s, the net- 
work was still being built, and here the story of Hope opens with a vegan 
pancake recipe. 

Niall’ s first band, Vicarious Living, was the impetus to book the first 
Hope-esque show. Six months after purchasing guitars, they were ready to 
play a show (good punks!) and just intuitively went about setting it up. Call 
the venue, book the venue, find a singer, find another band even if they 
don’t have a name yet, then pester every friend in town to attend. Simple 
and effective. The 80s slowly built up a crew of like-minded souls that 
wanted to help with booking bands and making the Hope shows happen. 
Recipes like 1, 2 X You Calcium Shake from Michael Murphy of Pleasure Cell, 
Macaroni and Not Cheese from Derek Grant of the Vandals, and Chocolate 
Cake from Guy Picciotto of Fugazi fill each page next to a behind-the-scene 
story of how and why the Hope Collective originators put on these show. 
From 1984 to 1988, the founding members of the collective arranged nine 
shows. Another nine shows went off in 1989 alone. Things were picking up, 
with more foreign bands wanting to tour abroad and the local scene sup- 
port growing stronger. 

The 1990s exploded with shows with bands like The Ex, GO!, Wat 
Tyler, Thatcher On Acid, MDC, Oi Polloi, Dirt, and on and on. Many pages 
of the later 90s shows contain only a recipe, but it is still fun to think of 
some of these people cooking up a big vegan meal. Since one of these 
yummy recipes was submitted by my roommate who rarely cooks, it kind 
of destroys my image of Bob Drop Dead daily cooking up a vegan storm, 
though his recipe for Kung Fu Ramen is verily uncomplicated and a cost 
effective way to fill one s stomach. 

The story that stands out the most has to be the sad story of the 



Downcast show. The show was a nightmare and the singer of Downcast, 
Kevin, left the stage crying. Oh, the torture of being emo. The band was 
falling apart and tour was making them hate each other, so it was more 
than just an emo moment full of sensi-boy tears. Kevin s recipe for 
Vegetable Curry looks pretty good — just remember to put enough curry in 
to make your friends cry. 

The funniest recipe comes from Colm Bannon of Flying Kidney, who 
describes in detail the creating of a gourmet vegan snack: Bread 
Sandwiches. Even the most culinarily retarded punks can figure this one 
out. There are three differing tofu scramble recipes which makes me feel 
better about my fanatical love of this stuff. Donna of Team Dresch s recipe 
assisted me in cooking up some delicious Lonely Planet Girl Muffins, 
though somehow I messed up the simple Los Crudos Torta Fritas. Ouch, it s 
just fried bread! This collection will sit proudly with my vegan cookbooks 
and zines in the kitchen, where I can consult it regularly for new ideas and 
stories about one collective and its impact on many bands and a few ded- 
icated organizers lives. *Off to make some Fat Day Maple Sweet Potato 
Pudding! 

— Tobia Jean 


The Black Bloc Papers 
David and X 
272 pages • $i2.oo 
Black Clover Press 
greencollective0chek.com 

This book presents some interesting ques- 
tions within the larger challenges of the anti- 
capitalist movement. It is comprised (mostly) 
of reprints from the public statements of the 
black bloc movement over the past few years. 
Included are “from the field’’ reports from 
Seattle (November 1999), DC. (April 2000, 
January 200O, NYC (May 2000), 
Detroit/Windsor (June 2000), Philadelphia 
(July-August 2000), Los Angeles (August 2000), 
Boston, St. Louis, Montreal (October 2000), Cincinnati (November 2000) 
and Quebec (April 2001). There is no question about the need that anti-cap- 
italists, anarchists, anti-authoritarians, and anti-globalists have for a book 
length accounting of the tactics, failures and successes of the black bloc 
tactic within the larger anti-globalization movement. 

In that light, this book is a qualified success. It actually tells the story 
of the black bloc in the words of the participants. And the “Peasants 
Revolt” statement from the Acme Collective (in response to the events and 
media depictions of Seattle) is worth the price of admission alone; both as 
radical propaganda and as a good introduction to the sblack bloc for the 
newcomer. 

That said, the quality of this book could hardly have been shabbier. 
From the glue sticked table of contents (they obviously confused the page 
numbers on their first pass) to the erratic typefaces and weight choices (not 
to even mention the typos) this book screams amateur hour and feels like 
it was published at a local Kinko's with scammed copy cards. Not to entire- 
ly prioritize quality over content, but a document that could be as useful 
as this one shouldn't fall apart in your hands! It is also a little strange that 
the only “publisher” information that is included in the book is an email 
address BUT somehow the publisher got it together enough to get a ISBN 
number. Rather strange priorities. 

Why would you want to keep this document handy? It presents 
answers to problems that many of us are having. They may not be the most 
correct (or practical) answers, but testimonials about how effective street- 
tactics are can teach a lot. For instance the stilted partial Black Bloc rush 
tactic is analyzed as practiced in Boston in October 2000: 

“There were also complaints that the bloc would rush the police, then 
run away, leaving peaceful protesters vulnerable to attack. Such is a com- 
plete misperception. Yes, after one of the orderly breeches of the block- 
ades, the police rushed us and some retreated.. The plan was that while 
the police were busy handling the initial broken blockade, we would rush 
forward at another point. This plan failed due to lack of general coordi- 
nation.” 

The book begins (about the first 20%) with a lengthy analysis of the 






motivation, demographics, and culture of the Black Bloc participant. The 
picture emerges of the Black Blocer as a counter-cultural, working-class 
hero linked to the larger anti-globalization movement through sober con- 
sideration of their arguments and data. The movement against globaliza- 
tion and capitalism is filtered through various Marxist traditions with 
increasing granularity concluding with a sort of dreamy-eyed post-situa- 
tionist analysis of global capitalism in a declaration of impending collapse 
(as if we haven’t heard that one before). It’s only after the picture is paint- 
ed of the Black Bloc as on the side of right and against horrible odds do we 
get to hear from our little David’s own mouths. Which brings up a major 
fork in the road that the GMAC (the Green Mountain Anarchist Collective 
compiled this book) do not seem to address. Is this book written for the 
civilian (a non-political person, a friend or family member of a Black 
Blocer?) or the fellow traveler? If the former then this introductory mate- 
rial is completely necessary and absolutely over any one’s head who would 
approach it cold (since it is loaded with the jargon of the scene and the 
expectation of quite a few points of reference). If the latter then most of 
the introduction feels like filler as all the topics (history of the Black Bloc, 
the composition of capital today, and the nature of modern counter-cul- 
ture) are well known to anyone who would file The Black Bloc Papers on 
their shelf (that would be after Berkman and before Bookchin). 

The book ends, on a very controversial note that should be examined. 
Through the papers, the issue seems clear that part of the trial by fire for 
the American Black Bloc is negotiating with the larger (and generally more 
“pacifistic”) movement how to avoid mixed messages and erroneously 
bashed heads during protests. This issue seems at least partially resolved 
by the creation of “zones” (red, yellow, green) where at least some plan- 
ning happens about arrest and aggressive police behavior. Which is why it 
is strange that the GMAC felt that it was appropriate to end the book (once 
again around 20%) with the rather bluntly titled “A Communique on tactics 
and organization to the Black Bloc from within the Black Bloc”. By which 
their intention is not how to better communicate their political agenda OR 
how to extend the reach of the Black Bloc outside of protests (although this 
point is debatable and should be examined further). What is actually meant 
by the euphemism “tactics and organization” is — how can the Black Bloc 
become more like an ad hoc militia that can serve as an effective fighting 
force against the police. In that regard GMACers (and some ARA folk) are 
explicit in calling for us to improve our tactical abilities; by which they 
mean increased organization as a street fighting force, regular physical 
training, facilitation of preemptive strikes, etc. In that effort they formu- 
late some new roles (for the Black Blocer) and a certain amount of jargon 
to explain it. Specifically they promote an elected tactical facilitation core 
to address the dearth of “a democratic tactical command structure” with- 
in Direct Action scenarios. 

Each collective Affinity Group (AG) elects an acute tactical facilitator 
(in their terms an a-tac) who. in the larger cluster, helps elect a general tac- 
tical facilitation core (a g-tac), whose membership, by the way, is known 
only to trusted affinity group members, who can make “on the spot” deci- 
sions (or in their dialect “act as the facilitators of Bloc movement in such 
a way as it complies with the general plan of action as defined in the prior 
open general meeting”). All this is fine and good if your first order of con- 
cern is battling the cops on the streets in non-lethal, event driven (and 
remember that these events are usually only protest events against faceless 
bureaucrats) and directly democratic (or possibly democratic centralist) 
ways. But (conveniently) this book ends prior to an analysis of either the 
events of Genoa or of September 2001. Following which our conclusions 
must account for the lethal consequences of our resistance, the new 
unpopularity of our aims such as it is when compromised by its piggy-back- 
ing on the sea turtle/labor axis of evil) and the fact that we are anarchists 
and not direct (or centralist) democrats. 

Which begs the question, what conclusions are the Black Bloc and 
GMAC drawing from these lessons? If the authorships and index are any 
indication, then the conclusion of the GMAC is the need for a formal organ- 
ization from which to practice the local, grassroots, movement building 
work necessary for radical social change. Specifically, GMAC is a support- 
ing member of NEFAC (North Eastern Federation of Anarcho-Communists), 
a collective-based federation currently active in North America, and many 
of the commentators of Black Bloc events are specifically NEFAC members. 
Moreover, in the history of the North American Anarchist movement over 
the past 20 years these analyses are directly originating from the “ARA” 
split in Love and Rage (a national anarchist organization that ended in the 
late 90s over issues of what role race politics should play in the anarchist 
movement and what role an anarchist organization should play in social 


change) and appear to be concluding in the “platformist” political articu- 
lation of NEFAC (which is a reference to a document written in the early 
20th century by anarchist ex-patriots evaluating their failures in the 
Russian Revolution). Which brings our modern debates right into the dust- 
bin of history. 

Lenin was quite clear about the role of “fighting formations” in the 
transition to a communist society; our future theorists (and practitioners) 
of revolution would do well to learn from his lessons. Highest among these 
should be the complicated relationships between means, ends, and good 
intentions. The desire for social change is not the same thing as deserving 
it (which we all do) and is especially not the same thing as knowing how to 
get it. The Black Bloc Papers demonstrates this well. 

— Aragorn 

4 

Painful but Fabulous: The Lives G 
Art of Genesis P-Orridge 
200 pages 

Soft Skull Press * 71 Bond Street 
Brooklyn, NY • 11217 
www.soflskull.com 

One fine evening (perhaps) six years ago I 
was waiting on a friend at the top of Haight St. 
in San Francisco when I noticed a small guy — 
with a headful of hippie braids, clad in flow- 
ing Joey Buttafuonco surfer pants and puffy 
white athetic shoes — being interviewed by a 
two-man camera crew. “Looks like the dude 
from Throbbing Gristle”, I noted, turning my 
attention elsewhere. Seconds later he 
dropped his trousers past his knees for the camera, displaying an wide 
assortment of genital jewelry and tattoos in the most personal of places. 
“It is the guy from Throbbing Gristle”, I thought. There's the beginning and 
end of my personal involvement with the man. 

If you’ve ever cracked a volume of the Re/Search Industrial Culture 
Handbook or Modern Primitives, dug into the recorded output of seminal 
noise-art prank Throbbing Gristle, or had truck with 1990s rave culture, 
then you’ve more than likely had your introduction to puckish iconoclast 
Genesis P-Orridge. My own take on his prodigious body of work (ranging 
from early 1970s cut-and-paste mail art, to synth-grind noise, to surrealist 
sculpture) is that it's always worth a look even if its merits aren’t always 
readily apparent. Like current Simpsons, I'm glad that he's around even if 
I'm not paying close attention. 

Born Neil Megson in Britain in 1950, P-Orridge dabbled in all manner 
of transgressive behavior at an early age and took part in the wild excess- 
es late-i96os London In the early 1970s he was chief instigator of the per- 
formance group Coum Transmissions, a performance art gang that shocked 
easily-offended audiences with scenes of bloodletting, casual nudity, and 
apocalyptic performances that involved violence, sex, and the misuse of 
plastic wrap. Events led to the formation of Throbbing Gristle, one of the 
few bands certified to have forged a genre (for good or bad) with their anti- 
hits such as “Hamburger Lady”, “Adrenaline”, and “United”. While they 
might not always have been easy listening, TG were nothing less than 
geniuses at establishing a sort of mystique for themselves and earning a 
certain kind of dark notoriety. 

Painful but Fabulous collects hundreds of pages of interviews, com- 
mentary by friends and enemies, photographs of the man during his dozens 
of distinct looks (ranging from long unkempt hippie dreads to cleanly- 
shaved cranium), as well as samples of his comics, collages, sculpture, 
discography, and philosophy. Within recent years he s taken to a sort of 
Talulah Bankhead look with bobbed hair and lipstick, a development that 
took me somewhat by surprise. 

Painful but Fabulous works as a glimpse into what makes Mr. P- 
Orridge tick, and as a neat slideshow of some of his visual art. I find myself 
more interested in the man s influences (among them Aleister Crowley and 
Austin Osman Spare, two great deans of British 20th Century sorcery, but 
neither one of them looked anywhere near as stunning in a feather boa. 

— Jeff A. Heermann 



MOVIES w 


FINAL CUT BY STEVEN SPINALI 



SOUTH OF THE BORDER JUSTICE 


A Latin- American Goodfellas? (Perhaps a cinematic Ratos de 
Porao?) The comparisons are flying every which way, but in the end, City 
of God is its own animal, a rough and violent look at the lost children in 
Brazil’s lowest classes. But this is no neo-realist tome; City of God main- 
lines its plot with MTV-style editing that practically leaves a dust trail, and 
the striking use of the hand-held camera. 

It’s been said that no country has such a gaping disparity between 
the rich and poor as Brazil, and this film is good second-hand evidence. 
Rocket ( Alandre Rodrigues) finds himself at the periphery of the two most 
powerful street gangs. He’s stone-poor, but is smarter than the rest of his 
crowd, aspiring to be a photographer* Rocket’s memories become the film’s 
camera. 

The film’s standout scene occurs very early on. Rocket is standing 
on a dangerous stretch of ground; on one side, twenty yards away, his 
friends are shouting, demanding his loyalty. On the other — a wall of cops, 
guns cocked. For all we know, his life is as good as gone whichever way he 
goes — but then the camera circles 360 degrees in a fast sweep, the scene 
morphs, and we see Rocket as a kid, the same friends as now, except the 
would-be toughs have their first toy: a gun. 

In the gang’s early days, cops give chase across dirt streets in beat-up 
VW bugs, cars that can barely keep up with foot traffic. Houses are piled 
on one another like cardboard boxes, and cops make little distinction 
between good and bad guys. For them, crime-fighting is mostly a matter of 
containment, and with every kid they pick up, three or four new ones 
sprout up to take their place. The only way to move up in a gang is if some- 
one dies, and promotion can be pretty fast. 

L’il Ze Leandro (Firmino de Hora) is an old school hood, making his 
cash through drugs and a violent streak to rival Scarface. For him, having 
one boss is the only way to keep peace in the slums. (The cops don’t mind, 
either; he pays them off and keeps most of the other gangsters out of busi- 
ness.) His only rival is Carrot (Sandro Cenoura), who supplements his 
drug trafficking with rape and murder. Friends since youth, the two young 
gangsters carve out their respective territories, each waiting for the right 
moment to invade their opponent’s turf. 

Rocket manages to get along with both factions by staying neutral — 
but that’s no any guarantee of safety. When he’s pissed, L’il Ze will kill any- 
one within shooting distance. He’s ugly and probably never gets laid, and 
that may be part of the problem. At least that’s the theory of Benny 
(Phelps Haagensen), generally acknowledged as the coolest guy in the cir- 
cle. 

Carrot’s gang, on the edge of the City of God, hasn’t a hope against 
the guns, numbers, and police protection of L’il Ze. But they do have a new 
recruit, “Knockout Ned” (Mane Galinha), a former bus driver who joins 
for personal reasons. A crack marksman while in the service, one of his 
bullets is worth ten of the opposition. 

City of God shows off such amazing filmmaking finesse that you 
may not notice the film’s ordinariness under the shell. But nothing can 
detract from its sense of immediacy, or the pains it takes in showing the 
poverty and crime in a city all the gods seem to have forgotten. 

In 1875, premier Portuguese novelist Eca de Queiroz wrote a moral 
tale so true that it would have currency 125 years later, as a film. Countless 
church scandals later, The Crime of Father Amaro is now hailed as a 


timely (and maybe overdue) attack on the excesses of the Catholic 
Church. 

Yoqng Father Amaro (Gael Garcia Bernal, the popular star of 
Amores Perros and Y Tu Mama Tambien) has been assigned to Los 
Reyes, composed mostly of rustic and pious parishioners. His mentor, the 
local bishop (Erneesto Gomez Cruz) sees hope in the young man, which 
roughly translates as ambition. 

Father Amaro is almost immediately popular, with or without his 
habit; even the mayor’s wife makes a pass at him in the town square. The 
sole exception is the raspy-voiced town hag, a leering busybody who saves 
communion wafers to feed to her cats. She also likes munching on boot- 
legged hosts for breakfast with jam, the only possible way they’d be edible. 

The padre is green, and this assignment was designed to test his met- 
tle. His direct superior, Padre Benito (Sancho Gracia) apparently shares 
his bed with Sanjuanera (Angelica Aragon), who cook’s the priests’ meals. 
They even have a lovely daughter, Amelia (Ana Claudia Talancon). The 
Padre is heavily involved in building what he calls a medical clinic (actu- 
ally, closer to a full-blown hospital), thanks to the contributions of a local 
narcotics cartel: In return for their support, he launders their drug money, 
and seems unable to see any irony in it. 

On the other hand, Padre Natalio (Damian Alcazar) disappears 
from the parish days at a time, volunteering his services as a working priest 
against the drug lords and for the mountain-dwelling revolutionaries. 

Father Amaro finds himself between of the two camps... or perhaps 
above them. As the official errand-boy of the bishop, he delivers every- 
thing from stern warnings to excommunications, all the while seemingly 
unaffected by any morals save for the regulations for the Church. . 

Or so it would seem. Pretty Amelita develops an especially strong 
interest in the young priest, who’s much more handsome and devout than 
her old boyfriend, a fledgling newspaper reporter. At first, Amaro tries to 
squelch the romance; but before too long, he’s reciting the Song of Songs 
while seducing the girl (who, given her mother’s relationship to Padre 
Benito, has no illusions about their situation). 

The Crime of Father Amaro apparently caused something of a stir 
in predominately Catholic Mexico. But most Americans, the scandals out- 
lined here may seem more melodramatic than shocking. Not unpre- 
dictable all the characters find their way into personal hells brought on by 
their faith — the one thing they hoped would save them. 

After a taste of Father Amaro’s version of Christian morality, you 
may be in the mood for a more secular voice. Power and Terror: Noam 
Chomsky in Our Times is like a post-9/1 1 update to the definitive 
Manufacturing Consent, which explored the intellectual’s theories at 
much greater length. 

MRR has been a longtime supporter of the MIT linguist’s views (he 
was featured on MRR’s New World Order 45). Here, Chomsky plays to 
overflow audiences in several cities, in the hope of explaining why we find 
ourselves in such an intractable foreign policy mess — and how we can get 
out. 

At 73, Chomsky still exudes that mix of fervency and humanism 
that’s been his trademark since his early protests against the Vietnam War. 
Dressed in Ivy league tweeds sans tie, with a shock of hair that doesn’t 
abide by any rules of containment, his message is fairly simple: there can 
be no war on terrorism if it’s waged by its main exporter. When US-fund- 
ed or operated actions result in the death of thousands overseas, he notes, 
we tend to turn a deaf ear. On our soil, it’s grounds for war. 

Chomsky calmly dismantles concepts like the “Axis of Evil,” which 
includes South Korea only to make it seem as if it has nothing to do with 
religion (or oil). He doesn’t let us forget that George Bush had no qualms 
about Saddam Hussein’s human rights abuses as long as the oil pipeline was 
secure, and how the United States’ alliance with Turkey (bought with guns 
and money) has been secured Without any thought to that country’s con- 
tinued atrocities against the northern Kurds. 

Chomsky concludes that the best way to stop terrorism is to stop 
participating in it. 

Despite it all, Chomsky enunciates a real affection for the United 
States (albeit not for its policies) — and for the possibilities for freedom of 
inquiry and expression that make films like this possible. 

Comments? Email me at sjspinali@yahoo.com. 


tfTTj. BRING ME 
THE HEAD 

of gene siskel 

"W. CAROLYN KEDDY 

I ' 


FORCE MAJEURE 

I can’t decide whether I’m cynical or conciliatory. On one hand, I 
am very negative. On the other, I tend to easily accept most people’s idio- 
syncrasies. Of course, there are still people I can’t stand, but I just don’t get 
people whose whole way of life is constantly putting others down. 
Ironically writing in their zine in which they gladly accept advertising and 
advice columns from the same person who earlier they decreed should sim- 
ply give it up. It’s like Mr. T said on The Simpsons: “I pity the fool who 
derives his self-esteem from making fun of another person’s appearance.” 
The audience attending the screening of Chain Camera (www.chaincam- 
era.com) seemed to be there to laugh at a bunch of high schoolers. The 
theater was packed with what 1 initially assumed were all college students. 
After the film they all looked like the high school kids in the film. 

Chain Camera has an interesting premise. Ten Los Angeles high 
school students get a‘ video camera to document their lives. After a week, 
the camera is passed on to ten more kids. The whole process goes on for a 
year. The students can show any aspect of their lives they want. Therp are 
a great variety of people, as you would expect in a California public school. 
There are many different opinions on the important topics of youth. 
Everyone comes across as open and honest, more so than I would expect 
teenagers to be. Aren’t teenagers supposed to be insecure? The wrestler is 
up front about how he wants to meet a girl. In fact, several times he 
reminds the audience that he is single. Mena admits that she hates 
Mexicans because “they think they are white.” Manuel states that “the 
majority of people in this world are stupid. It’s true.” I expect teenagers to 
be a little bit ignorant about things, but everyone is so assured of their 
opinion, it seems kind of odd. Maybe I just forget what it is like to be sev- 
enteen. 

There are a few moments with a true voyeuristic quality. Alan is 
showing Lisa how to give a blow job, demonstrating the technique with a 
banana. He shows her how to put on the condom. Then he is trying to get 
her to put her mouth on the banana while he holds it at crotch level. She 
is laughing hysterically and won’t do it. Then she picks up the banana and 
innocently tries to get him to do it. Stephanie and her father seem like a 
perfect family. Yet, when we are first introduced to her dad he keeps 
repeating, “What a fuckin’ bitch.” It’s all that comes out of his mouth. 
Stephanie yells at him to stop. Initially this may not seem like a great envi- 
ronment for a teenage girl, but the more you get to see their interaction 
you realize that she is lucky to have such a great father. 

The thing that keeps me from just sitting back and enjoying Chain 
Camera is that I am constantly wondering what was left out. Is this truly 
the portrait of today’s youth, when a much older man, director Kirby Dick, 
is the one who decided what is presented and what was cut? The ending of 
prom and graduation seems to be tacked on. It compromises the idea 
behind the film, of this being a week in each person’s life. Still, the class 
valedictorian gives one the best graduation speeches I have ever heard. 
She isn’t afraid to call out the hypocrisies of the faculty. Maybe the high 
school students of 1999 come across as more self-assured because they 
know more about the world than I did when I was seventeen. 

Morvem Callar is the story of the title character, who discovers her 
boyfriend has committed suicide on Christmas Day. In the opening shot 
she sits on the floor gently caressing his body for a few minutes before it is 
revealed that he is dead. Morvem seems in denial, perhaps so consumed 
with grief she is unable to comprehend what is going on. She is barely able 
to read the note he has left. She walks to the train station under the pre- 
tense of making a telephone call. She hesitates. The phone rings. She is 
alone on the platform, but the caller is insistent that the person he wants 
is there. The caller then begins to question Morvem as to what she is 
doing there. She simply states she was going to make a call. She doesn’t. 

Instead she goes to a party and drowns her sorrows in drugs and 
booze. It is easy to assume that she is callous, but how are you supposed to 
act when a person who you are intimately involved with kills himself? 1 
feel it is impossible for anyone who has not been in this situation to be able 
to understand what the Morvem is going through. Suicide is a very selfish 
act and reacting the way Morvem does makes sense whether you agree 


with it or not. 

Morvem finally gets up the courage to read her boyfriend’s suicide 
note. “Sorry Morvern. Don’t try to understand. It just seemed like the right 
thing to do. I love you.” He leaves money for his funeral and a finished 
novel he wants her to get published for him. This small scene doesn’t 
explain anything to Morvern and dumps a bunch of responsibility on her. 
She is seething with guilt and anger. Morvem buries his body herself, sends 
off his manuscript with her name replacing his and uses his funeral money 
for a trip to Spain. 

Morvern then begins an attempt to reconcile herself with what has 
happened. She sees an opportunity to change her direction in life. She 
never tells anyone that her boyfriend is dead. She mentions to her friend 
Lanna that he has left. Lanna assures her that he will return giving us the 
assumption that he has run off before. Later we discover he has cheated on 
Morvem with Lanna. Since we never get to know the boyfriend except 
through present events, I would assume he has a lot more secrets that could 
eventually turn up. 

Having been through a similar situation, I know I react more per- 
sonally to Morvem Callar than others would. The film seems so honest. 
It is subtle and depressing, yet life-pffirming. I’m sure I wouldn’t have 
reacted the same way as Morvern, but I can understand why she did. 

In another world, but coincidentally also in Spain, Lost In La 
Mancha follows the misadventures of Terry Gilliam’s attempt to make a 
film. The film, The Man Who Killed Don Quixote, was never finished — 
here is the story why. 

Gilliam had been trying to make a film of Don Quixote for years. 
The film starts out with the presumption that the project is automatically 
doomed from the beginning citing Orson Welles’ attempt at making the 
film. There is some great footage of Welles’ film, which he worked on for 
fifteen years whenever he got some money, and which was eventually 
abandoned when the actor Francisco Reiguera died. 

Gilliam’s film goes about the same route. He has a hard time getting 
money due to his reputation for being a difficult director. He finally man- 
ages to find some European investors who come up with $32 million. It is 
less than he needs for the extravaganza he has planned, but he decides to 
go with it anyway. He finds the perfect Quixote in 71-year-old Jean 
Rochefort. Rochefort has been preparing for the role for two years. He 
even spent seven months learning English to play the part. 

Gilliam and his crew start working on the pre-production. Things 
seem to move along smoothly. The first major obstacle is not being able to 
have easy access to the actors. Since the production has a tight budget, the 
actors have agreed to lower salaries than normal. They also have to shoot 
around their existing schedules. There is no time for rehearsals before they 
begin shooting. 

Then the real problems with the film start. There is a sudden storm 
that floods the first set, destroying everything and changing the makeup of 
the location. Then fighter planes fly over the set from the nearby bomb- 
ing range, the noise ruining shots. Then Rochefort is diagnosed with 
prostate and back problems. The film trudges on, with the hope that they 
will be able to complete the film when Rochefort returns. He is delayed for 
days and then weeks. Finally, Gilliam gives in to the fact that even if 
Rochefort returns, he will not be able to ride the horse that is present in 
almost every scene. 

It must be extremely frustrating to have been trying to get this proj- 
ect going and then when it is so close, to have it all end suddenly; but 
Gilliam comes off as a jerk. You can see how hard everyone is working to 
get things the way he wants it. He treats the people working for him like 
they don’t really matter. He has to realize that without these people he’d 
never get any of his films made. In one scene, some designers are making 
life-size marionettes to fight against Quixote. He explains that he wants 
Quixote’s hand to go through the puppet. He exasperatedly says, “I don’t 
understand why his hand can’t go through the puppet,” treating the 
designers like they are children. When the crew is finally told that pro- 
duction has been called off, Gilliam doesn’t even have the courtesy to 
show up and thank them. One of the crew members asks the camera, 
“What I want to know is, where is the director?” Gilliam is off sulking with 
the assistant director. 

Sometimes I wish I didn’t have this personal knowledge of people 
like Terry Gilliam. He does have a tendency to come across as too smug 
and self-important. He’s always playing up the angle that he is the little 
man being crushed by the big man. I’d, rather just enjoy his films for what 
they are. 

I hope The Man Who Killed Don Quixote eventually gets made. 
The footage that was shot and shown in Lost In La Mancha looks like it 
would make a great film. 

b 

/ am always looking for films to review. If you made one, send a copy to me do 
MRR PO Box 406760, San Francisco, CA 9 4146-0760. You can also reach 
me by email at carolynmrr@juno.com 



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$5 ppd / $8 world 


IN THE WORKS FOR 2003. 

RUINS "March - October 1997" LP 
BCT Presents: the USELESS BOYS 7" 

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MELT BANANA/EAST WEST BLAST TEST split 

ZENI GEVA 7" 

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S |!k?| MRR yo “!; i re,ease f ° r rev, ‘ ew P 0 "’* send wim P% arty, emo, metal or MTV corporate rock shit here. Don’t have your 
label give us follow-up calls as to whether we received and are reviewing a record. We want punk, garage, hardcore, and 

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Spinah. (MT) Mike Thorn, (MX) Max Tremblay, (RW) Ryan Wells, (SW) Shane White. 





101 ’ERS - “Beat Music Dynamite” LP 

. „„ Dif f e rem versions of five songs, live and outtakes, from Joe Strummer’s 1975-6 outfit. ‘ Sweet Revenee” 
and Keys to Your Heart” are similar to London Calling -era CLASH, but a little sweeter and less punchy— verv 
worth owning for any CLASH fan. Other songs, like “Surf City,” sound more like early 60s psych/garage stuff This 
is a nice collection, too — no garbage included. (AC) " 

(Andalucia, no address) 


A FEAST OF SNAKES - “Killing Time” LP 

, ... . , , R o u |h-handed adrenaline-driven blues recorded with the lowest-possible fidelity. You know what I’m 
ab °ut. A FEAST OF SNAKES are speaking from an adolescent holding pen of their own design I hear it in 
Kill Your Boyfriend and “Own Me”, a real desperate flail teenage flail. Killing Time successfully grafts urban 
blues to the mimumum daily requirement of punk rock chutzpah. The whole package sounds, feels and feels way 
familiar. I m hearing OBLIVIANS, REATARDS, LOW LITE, BAD TIMES, and any number of other down-and- 
dirty rock n roll combos. Still, member A. Cuervo has paid his dues in some of those bands (I know that much) 
and it s better than what’s on television. (JH) 

(In the Red, 1 1 18 W. Magnolia B, PO Box 208, Burbank, CA 91506) 


ADEQUATE SEVEN - “Songs of Innocence and of Experience” CD 

Great lyrics dealing with politics, lousy ska-tinged music with hip hop and punk overtones. This should 
have been a spoken word record. (JF) 

(Household Name, PO Box 12286, London, SW9 6FE ENGLAND) 

GG ALLIN - “Public Animal No.l” EP 

„ v „ „ a , h ’ old GG t -now this is the ticket....!!! These are the years that GG was at his best. This re-ish features 

You Hate Me and I Hate You” “Automatic,” and the classic “Assface” ...!!! ! Totally fantastic shit here good 

sound quality... scratch and sniff cover.. ..smells like GG’s upper lip after sex. ...personally signed by his butthole » 
Also contains three original oil beads straight outta the blackheads of GG’s noise whatta DEAL" ' ' ' (SW) 
(Orange, 639 Broadway, Box 902, New York, NY 10012) 


ALMOST THERE - “She Was Like, and I Was All...” CD 

If BAD RELIGION were my favorite band, ALMOST THERE would be on a poster above my bed Every 
night, I would gaze at their styles and paint my toenails. (MM) 

(Bitch Slap, PO Box 952, Gover Beach, CA 93483) 


AMBULANCE - “Words” EP 

Great Swedish hardcore punk with tense melody that builds and builds with the assistance of two guitars. 
You wouldn t peg the rough (but intelligible) vocals for female— they’re just high enough to offset the heaviness 
especially when the band descends into a slow-down (not a break-down), effectively, at the end of “Control ” The 
English lyrics didn’t particularly grab me, but musically, this is top of the line. (AC) 

(Busted Heads, Box 275, 901 06 Umea, SWEDEN, www.dsl3.com) 


AMERICAN DREAM - 1 


— - runk Will Rise Again” CD 

This is total crap. Off the top of my head I can name several problems I have with this band: they are try- 
mg to look and sound like the STITCHES but in an obnoxiously cute way, they have song titles like “Punk Will Rise 
Again, and Junkie Princes (A Fairy Tale Hell),” and they are fucking cheesy nerds. This wouldn’t be bad if they 
didn t try so fucking hard to be tough. Nice try, dick noses. (BM) 

(Mugshot, 1836 Humbolt Blvd. 2A, Chicago, IL 60647) 

ANFO - “La Sangre De Latinoamerica Luche y Resiste” EP 

Wow. Hailing from Lima, Peru— ANFO bring us five tracks of quick paced, dual vocaled, burly hard- 
core punk. Super rough recording complements their snarling D-beat fueled assault. Reminds me a bit of personal 
N0!—H especially on the song “Multinacionales Asesinas.” Fans of US hardcore bands like 
DEATHREAT or BALANCE OF TERROR should take note for certain. Excellent. (MT) 

(Where s Your Anger?, PO Box 471, Boston, MA 02134, wheresyourangerpunk@yahoo.com) 


— 


1 



AMERICAN STEEL - “Middle of the Night” EP 

This clever single is a part of the Fat Wreck Chords singles club. Without exception, if you were a AMERI- 
CAN STEEL fan, you’ll be nostalgic and satisfied with this much-delayed release. (MM) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 941 19, www.fatwreck.com) 

L’AMICO DI MARTUCCI - “Non Val Saper A Chi Fortuna Ha Contra” EP 

Seven songs of thrash from Italy, nothing very original, but well-played and fun to skateboard to, no doubt. The 
most ear-catching song, strangely, was the instrumental. Some lyrics in Italian, some in Spanish, with English transla- 
tions. ‘‘Invierno Y Verano,” about skating and thrashing in the ice and snow, was a winner: “I am freezing, let’s smoke 
a joint, you’re not tired? I’ll try another trick, I’m still bleeding, you’ll see that I take it.” Awesome. (AC) 

(625, PO Box 423413, San Francisco, CA 94142) 

AMMUNITION - “A Long Walk Forever” EP 

I would be doing this review an injustice without mentioning AMERICAN NIGHTMARE. Similar lyncal 
construct, similar vocal style. The production is a lot more raw and the vocals are little more gruff, which is a plus. The 
cover art was done by Linas Garsys, who did artwork for AMERICAN NIGHTMARE, SHARK ATTACK, and a lot 
of other East Coast bands. I know this record has been out for quite some time, so I am not sure if this band is still 
around. If this sounds like your cup of tea, then drink it up. (CQ 
(Western Front, 1812 1 1th St, Manhattan Beach, CA 90266) 

ANTIGAMA - “Intellect Made us Blind” CD , 

I’m having a hard time finding bands to compare this Polish tech metal/grind band to, and that’s always a 
good thing. This is really solid grind with a lot of variety to the riffs. There’s almost an industrial edge to a lot of this, 
which normally I wouldn’t say to recommend something, but it’s quite positive in this case. The guitars and drums have 
a clinical precision to them and there’s all sorts of bizarre things going on with the guitars — odd, slashing metallic 
sounds, like forming riffs out of Arnold getting pulverized at the end of The Terminator. The blasts are intense as fuck, 
and are all the more effective in that it’s not just constant speed— there are tons of doomier repetitive slow parts and 
odd time changes, and then whammo — they hit you with the grind and it s relentless. Really one of the best metal/grind 
bands I’ve heard in a while, like a mixture of NEUROSIS, KALIBAS, CEPHALIC CARNAGE, NAILBOMB, and 324, 
to give you a confusing idea. (EL) 

(The Flood, c/o MBE 180, Piazza Caiazzo 3, 20124 Milano, ITALY, theflood@katamail.com) 

ANTISEEN - “Noise for the Sake of Noise” LP 

Fuzzy rock from Charlotte, North Carolina played with a lot of aggro. This was apparently already released in 
1989 in Australia and is re-released for you thanks to TKO. I was never a big fan. It’s just too rock for me, too much 
long hair man, but I must say it’s not bad. It will definitely annoy your parents in ways that the current crop of limp 
American punk cannot, for that alone it gets a thumbs up. Fuck the police. (AD) 

(TKO, 3126 W.Cart. #303 Richmond, VA. 23221) 

ATOM AND HIS PACKAGE - “Attention! Blah Blah Blah” CD 

The return of the pop miester whom all the punks love because his songs are so damn funny. Another great 
batch of drum machine based songs with heavy guitar driving them home. A sampling of song titles this time around 
include “Does Anyone Else In The Room Want To Marry His Or Her Own Grandmother?” and “Dear Atom, You Do 
Not Want Children. Love, Atom”. Yet another great pop full-length from this one-man band. This shit is so catchy it 
could be on a Dodge commercial. (RL) 

(Hopeless) 

BACKWOOD CREATURES - “Living Legends” CD . 

Stardumb does it yet again. Another fine release. The BACKWOOD CREATURES have ditched their 
QUEERS sound and matured a bit. The songwriting is a whole lot better and it’s got all the hooks in the right places. 
Goddamn, I can’t think of what this sounds like. It’s just a catchy punk rock record with melody borrowed from all over 
the place and deep vocals that aren’t even the slightest bit tough-guy, and lots of harmonies and group sing-alongs. 
Check it out for yourself, then help me review this when you’re done. (BM) 

(Stardumb, PO Box 21145, 3001 AC Rotterdam, NETHERLANDS, www.stardumbrecords.com) 

BARSE - “They Said It Couldn’t Happen Here” LP , 

The 7” on Rapid Pulse was the first thing I heard by this UK band. It is great — you should buy it. Very 
STIFF LITTLE FINGERS/NEWTOWN NEUROTICS without sounding like a carbon-copy band, quite difficult to pull 
off with this type of sound. This LP continues in the same vein, suffering slightly from samey-sounding production, but 
that is just typical for the guitar-raunch-phobic island from which these lads hail. Always good to hear snarled English 
vox. In the garage ‘77 punk world, this is probably the best band out of the UK since the ARMITAGE SHANKS. The 
songs are good and I have no doubt at all that they would be really fun in a small club in, I dunno, Leeds or somewhere. 
See ya in Leeds'. (RW) 

(Hell’s Tone, V.Hellsten, Niputtajankatu 12 B 3, 57510, FINLAND, www.lprhardcore.net/htr) 

BARSERDS - “Pushy Polemics”CD . . . A . 

While listening to this record, one might consider picking the hairs from the bottom of their shower drain. Alter 
that activity, one might throw away their cowboy boots and three-chord progression boring songs, and toss this record 
towards their neighbor’s window like a tin can of tuna, dolphin-unfriendly like. Rock n roll, from Germany. (MM) 
(Trash, PO Box 10 16 53 D-46216 Bottrop, GERMANY) 

BATHTUB SHITTER - “97 + 3 Shit Points” EP 

Repress of this great Japanese grind band’s first demo from ‘97 plus some extra songs. Although the sound 
is of course a bit rougher, it still sounds really good, and even then they had their bizarre approach to riffs, lyrics, and 
insane vocal tradeoffs pretty well down. Great blasts and brutal breakdowns, and I swear these guys have the best fuck- 
ing lyrics on the planet. Goddamn, I love this band. Find a place in your heart for the Bathtub Shitting Machine. (EL) 
(Power it Up, Postfach 1 1 14, 38156 Vechelde, GERMANY, www.power-it-up.de) 

BEER FOR BREAKFAST/BUNNIES ON STRIKE - split EP 

It’s amazing when two bands, both equally impressive, from drastically separate genres, can share the same 
piece of vinyl so well. BEER FOR BREAKFAST scream my shoelaces into knots, like SCOTT BAIO, while BUN- 
NIES ON STRIKE croon away the passion of loneliness, like CYPHER IN THE SNOW. Go Holland! (MM) 
(Wasted Youth Power c/o G. Davelaor-Smarogd, 11- 1703 GA Heerhugowood, NETHERLANDS) 

BIG D & THE KIDS TABLE - “The Gipsy Mili EP” CD 

I see it is now my turn to review a BIG D & THE KIDS TABLE record. “Oh joy,” as Stimpy would say. For 




r 



ska-punk, this is better than average, but the horns are so prominent that it gets really obnoxious. It must be really dif- 
ficult to find something else for horn players to do other than just play ridiculous melodic lines over and over again. If 
you really miss SLAPSTICK, go for it. I’ve moved on. (MX) 

(Fork in Hand, PO Box 230023, Boston, MA 02123, www.forkinhapd.com) 

BIG JOHN BATES - “My Stiki” CD 

It’s like this — if you think the last couple of CRAMPS records were “OK, but not as good as their early 
stuff,’’ but you bought ‘em anyway, then you will have no problem warming up to this particular rootsy group. Super 
clean production, tiki obsessions, bad nurses, stand-up bass, they’re Canadian... you get the picture. Kooky for 1959 via 
modern technology!! (RW) 

(Devil Sauce, Dept 20, 601 Bute St, Vancouver, BC, V6E 3M2, CANADA) 

BLANCHE DAVIDIAN - “Attack of the Killer” CD 

Their puns kill me. Every title has some sorta play on words, but when they get down to the rock, they get 
down to business. BD’s driving beats, oodling guitars, persistent tambourine, and heavily reverbed vocals crank out 
some catchy anthems, classic rock, and twisted walls of sound. At times I hear HUSKER DU, JANE’S ADDICTION, 
and QUEENS OF THE STONE AGE. Good. (HM) 

(Exquisite Swine, no address) 

THE BLINDING LIGHT - “Glass Bullet” EP 

Crunchy distorted guitars, screaming hoarse vocals, double kick drum attack, chugga-chugga lines; all this 
adds up to some grind-influenced hardcore that really doesn’t do too much for me at this moment. It’s thick-sounding, 
it’s near-violent, it’s got plenty of metal-influenced leads, it could be the next thing you get into. (WM) 

(Init, PO Box 3432, Mankato, MN 56002, www.initrecords.net) 

BLUE ROSE LIAR - “When Shadows Swallow Shadows” CD 

One time I was really hung over and someone tried to make me listen to a band that sounded like this one, and 
it made me puke again. Like a nauseous nightmare, these songs make me feel dizzy and hateful. I like that. I also like 
DEAD AND GONE. You should too. (MM) 

(www.blueroseliar.com) 

BOOKS LIE - “Empathy” EP 

Although I have a hard time keeping up with most of the hardcore bands on the East Coast, I have tried to keep 
my eye on BOOKS LIE and I have to say this record does not disappoint. Only a couple of songs but they have come 
a long way since their first album. It’s not so much a stylistic change — they’ve just gotten better at it. At times, the 
songs sound similar to NATIVE NOD (especially on the B-side) but they throw in the fast parts that the previous band 
didn’t. Their sound brings you back to the early 90s, but they are able to do it without sounding outdated. (PA) 
(Carmen Diablo, PO Box 13.036, 46080 Valencia, SPAIN, http:/carmendiablo. cjb.net) 

BRAINOIL - “Dark Eyes of My Past” LP 

Local boys BRAINOIL kick out the jams with this seven-song release. They follow down a path laid out by 
sludge kings like GRIEF and EYEHATEGOD as the black tar oozes ever so nicely from their amps and into your ears. 
Slow, heavy, and mean with dark, depressing lyrics that go with this style of music oh so well. I have caught them live 
a couple of times and they never fail to get my head banging with their growling assault. Check this shit out! (RC) 
(Life Is Abuse, PO Box 20524, Oakland, CA 94620, www.lifeisabuse.com) 

BRODY’S MILITIA/THE CRUNKY KIDS - “Ohio Skullcrushers Union” EP 

Two bands from the Buckeye State. Speedy distorted punk from CRUNKY KIDS with male/female vocals 
blurting songs about terrorists, money, and being angry. BRODY’S MILITIA delivers loud thrash with screeching 
lyrics about whisky, war, and a punk shop turned porn store. Sorry, but nothing too special here. (SR) 

(Distort Ohio, 818 North Metcalf St, Lima, OH 45801) 

BUMP-N-UGLIES - “The All American 4 Pack” EP 

These kings of wrestling rock continue to pad their repertoire with four more macho ditties. Included is a cover 
of GG’s “Don’t Talk to Me” and a porno anthem that’ll certainly get the UGLIES fans into that WWE frenzy. 
Mischievous, macho, and masterful. To fully understand, see ‘em live. (HM) 

($4 ppd: Chuck Nagy/Low Down, PO Box 4502, Ann Arbor, MI 48106-4502, www.bumpnuglies.com) 

BURN YOUR BRIDGES - LP 

Debut LP from these Los Angeles punx which brings to mind fond memories of the early Slap-A-Ham cata- 
log. Imagine one part INFEST, one part CROSSED OUT and even one part ATTITUDE ADJUSTMENT and you start 
to get a feel for what this two man hardcore unit can do. Bitter biting and brutally honest lyrics which match the vio- 
lently powerful thrash quite well. Let’s hope we see more. (MT) 

(Burn Your Bridges, PO Box 6911, Burbank, CA 91510) 

BURY THE LIVING - “Bathed in Blood and Climbing Over the Dead” EP 

Powerful head splitting hardcore from Memphis, TN. Six tracks of “I’m mad-as-hell-and-I’m-not-going-to- 
take-it-anymore” style thrashy punk that brings to mind NEGATIVE FX, COPOUT and The FIX. Best song title of 
the month — “Your Colors May Not Run But I’ll Bet They Fucking Burn.” Amazing. (MT) 

(Kangaroo, Middenweg 13, 1098 AA. Amsterdam, NETHERLANDS, tyson@xs4all.nl) 

CARPENTER ANT/ATARI - split EP 

No, ATARI didn’t get back together. What we have here is a previously unreleased song called “Joystick Fury,” 
which according to the liner notes was the first song ATARI ever wrote. ATARI belonged to a core group of straight 
edge bands (almost exclusively from the East Coast of the US) who started reviving the fast straight edge hardcore 
sound, bringing a much needed breath of fresh air in an otherwise stagnant metal hardcore scene. So in other words, 
the song is not essential, but if you’re a fan of the 1996- ‘97 era of straight edge hardcore, then you won’t be disap- 
pointed. On the flipside of the record we have CARPENTER ANT. I like these songs a lot better than the songs off 
their debut 7” I reviewed last year. I am not sure whether this is a better recording, or they just improved as songwrit- 
ers. Regardless, CARPENTER ANT execute the quirky, screamy hardcore sound really well. I even like the wanking 
guitar parts. Too bad there is no lyrics. (CC) 

(Union City, 76 West Market St, Bethlehem, PA 18018) 

THE CAUSE/BY THE GRACE OF GOD - split EP 

This shit sucks. Didn’t we have to suffer through enough chugga-chugga Victory Records baggy-pants bull- 
shit in the mid 90s? The CAUSE is late period AGNOSTIC FRONT-inspired dude-core from Encinitas. “Discussion 



l 







DEAD BY 
DAWN 


m 



of Termination” is an “open minded” song about abortion — uh huhJ’death toll is on the rise?” Take a hike. BY THE GRACE 

OF GOD is it possible they are still around? — waits 25 counts of “haunting” intro before kicking in with the rhythm section, 

and then they’re out of tune. And man, the poetry... obsequious? Give me a fucking break. (AC) 

(Tear It Down, PO Box 230722, Encinitas, CA 92023) 

COUNTERBLAST - “Impassivity” 2xLP 

So slow and entrancing that it’s almost painful... just the intro into the first song is nearly five minutes long, but it s so 
completely worth the wait. These ten songs (seven new, and three from compilations) are 

and keyboards and samples, and always plodding deliberately forward to crush your skull. COUNTERBLAST fall somewhere 
in between DYSTOPIA and NEUROSIS, but on this release (a few years in the making) they’ve started down a road that is 
distinctly their own, and have outdone even their past releases, which are fucking brilliant. For those who like to get pum- 

meled... over and over again. (WN) . 

(Putrid Filth Conspiracy, Box 7092, 200 42 Malmo, SWEDEN, counterblastmail@yahoo.se) 

THE CRUSH/HEADS & BODIES - split EP , . , 

I believe this is the same CRUSH that just put out an album on Adeline. I heard the album once and thought it sucked 
pretty hard The CRUSH’S two songs on this EP are much better than I remember their LP being. It s defirutely still on the 
more uninspired side of modem emo-influenced melodic punk, and the singer’s voice is hell of annoying, but the songs are fair- 
ly intricate, and the production isn’t too slick. Overall, pretty enjoyable. HEADS & BODIES are more chaotic zrnd saeamj- 
er, but they have this fucking kazoo-sounding thing in the right speaker that gives both songs this weird new wave feel. There s 
no trace of passion anywhere, and it’s just not my thing. (MX) 

(Blood of the Young, PO Box 1441 1, Minneapolis, MN 55414, www.blood-of-the-young.com) 

DS.V. - [ ^ r ^ n ul “™ h g 0 ^ e * P S B name afound a bit theS e days and this is the first time that I've had the pleasure of listen- 
ing to them. My opinion: I like D.S.B. They vaguely remind me of slightly thrashier Victim In Pam era AGNOSTIC FRON I . 

I definitely would like to hear more from these young Japanese lads. Good stuff. (WM) 

(Partners In Crime, 4507 N. Gantenbein, Portland, OR 97217) 

DEAD BODIES EVERYWHERE - “Buy a Bullet, Rent a Gun” CD u ...... 

Local grindmasters DEAD BODIES EVERYWHERE may have broken up, but not before they left behind this 
five-song crusher to flatten your eardrums. DEAD BODIES EVERYWHERE pull in a variety of styles from pommeling speed 
to slow pulsing grind and pack this fucker full of blistering rage and aggression. The occasional stop-start time changes kep 
me on my toes and Jason’s crazed vocal range made my throat hurt just listening to them. Check this bucketful of brutality out 
now’ And don’t forget to check out the bonus live footage that was added onto this multi-media CD. (RL) 

(Intolerant Messiah, Box 6162, San Mateo, CA 94403, www.intolerantmessiah.com) 

DEAD ... o. p, ra in d. 1*0. E- - '•» 

GRIMPLE (not the awful reformed GRIMPLE. but rather LOGICAL NONSENSE split-era GRIMPLE) certainly come to 
mind. Most of this stuff is slower to mid tempo and DEAD BY DAWN avoid most of the trappings of genenc hardcore, mak- 
ing this EP (the vinyl version of their demo) kinda refreshing — although “refreshing” isn t exactly the word that comes to mind 
when you hear the singer snarl. Looking forward to more stuff from this band. (WN) 

(Bom To Die, 1904 NW 31st St, Oklahoma City, OK 73118, deadbydawnl3@yahoo.com) 

THE DEAD CITY REBELS - “Trashed— Rare & Unreleased 1997-2001” LP „ „ , , 

Have I heard of the DEAD CITY REBELS? Should I have? Don’t know— let’s find out. What we ve got here is a sort 
of retro or overview of their brief four-year life. The first side was recorded in 1997, and while the songs certainly have some 
hook and energy, the recording just ain’t all that great. The production on side two (‘98, ‘99 and 00) is much better and a lows 

you to listen to the songs, rather than the recording. It’s good stuff. It’s mid-tempo to faster P a <^ URKS andtoe 
with enthusiasm. Hell, they even throw in a horn section every once in a while. Comparisons to NEW BOMB TURKS and the 
DEVIL DOGS are accurate, if a little ambitious. So this is good stuff and all, but c’mon, you could count how mroy years lhese 
guys were around on one hand. And they just split up a couple of years ago. Did we really need a retro record . (KK) 

(High Society Inti., St. Petersburgerstr. 4, 18107 Rostock, GERMANY) 

DEAD KINGS - “For All Those Hot Black Chicks” CD , , . . K4CM 

OK from the cover to the song titles I was poised with my bat to smash this thing to pieces; then the barking MhN- 
TORS-styled vocals stomped out of the headphones laying on the review room floor. The bat quivered. Maybe I was in the 
mood for a BLOODY MESS & THE SCABS tribute record? The bat fell back an inch. A couple more songs charged out, 
totally by-the-numbers metal junk studded with punk flavors. The vocals now grated like a sclerotic bum s. Fuck that fucking 
bum. The bat smashed and smashed... (RW) 

(Scat Boy, PO Box 9680, Charlotte, NC, 29299-9680, www.thedeadkings.com) 

THF DFAD ONES - LP 

This Swedish outfit combine raving vocals reminiscent of RAW POWER with flexible, stop-on-a-dime HC guitar 
work to make for a set of tunes with incredible immediacy. The intense, change-of-pace “Discriminated exploits their style the 
best, though rougher production would have enhanced the band’s power. Played at full blast, it s great for moshtng around in 
your bedroom. (SS) 

(Gloom, PO Box 14253, Albany, NY 12212) 

DEAD THINGS - “Because Sometimes You Just Want to Ride Your Bike to the Show” CD 

It’s about time someone used this long overdue title for a CD! But seriously, these guys are a charming mix o 
DILLINGER 4 and the GRUMPIES. You know youth, rough production, and enthusiasm. This band blazes through 1~> tracks 
of catchy songs with many a guitar hook. An up and comer worth checking out. (RL) 

(Slave, PO Box 10093, Greensboro, NC 27404, www.slavemagazine.com/deadthings) 

THE DEAL - “Pretty Words, Better Days” CD , . , , ™ . ot 

Fast and aggressive “modem” hardcore with huge youth crew choruses dunng the breakdowns. This is good for what 
it is, but I don’t think we need another AMERICAN NIGHTMARE clone. Next. (CC) 

(Sobermind, PO Box 206, 8500 Kortrijk, BELGIUM) 

DEATH IN GRACELAND - “Come On, Touch Mte” CD _ . . . . ^ 

Not punk rock in the strictest sense of the word— more like intense indie rawk. Pissed singer is mnting on top 
spidery guitar leads that scream “San Diego 1992!” Not bad stuff at all, but this kind of super-competent RFTC-style stuff was 

never my cuppa. (RW) 

(Formula 47, www.deathingraceland.com) 


r 


DEATH TRUCK - “Next to Nothing” EP 

An odd obsession with trucks and death brings us these four songs of dark, and gloomy, yet somewhat melodic 
hardcore. At times it’s too drawn out and long for my tastes. For a few seconds, a little over-dramatic and cheesy But for the 
most pan, solid and fast, with nice changes. The JAWBREAKRER to ECONOCHRIST crossover thine they’ve got going 
on is actually pretty cool... Worth checking out. (VH) 

(1828 Marshall St. NE #4, Minneapolis, MN 55418) 

DERITA SISTERS/COCKROACH CANDIES - split EP 

Mmmmmm, totally.... DERITA SISTERS are sleazy to the max. Oh, my God, I am so impressed by “Fuckmobile” 
and their wit... I would say more but I just don’t care. Fuck this side. COCKROACH CANDIES are more of the same but a 
little catchier, and the female backups are a nice touch. (BM) 

(Trash 2001, PO 101653, D-46216, Bottrop, GERMANY, www.trash2001.de, info@trash2001.de) 

DERITA SISTERS - “The Great Satan” CD 

Some high velocity punk rock and roll here. The chords all work together with each other. RAMONES meet 
MOTORHEAD. Melodic guitar leads. There’s a funny song about how the CLASH shouldn’t do a reunion. There is just so 
much of this stuff to wade through. I want to die. (WR) 

(Trash 2001, PO Box 10 16 53, D-46216 Bottrop, GERMANY, www.trash2001.de) 

DESTROY - “Discography 1990-1994” CD 

This is a song-for-song reissue of the Necropolis CD originally released on Sound Polution back when, except 
that it now has a different cover (I preferred the Necropolis cover, personally) and new liner notes, as well a new booklet lay- 
out. DESTROY, for those just now coming aboard, were a raging powerhouse of violent political hardcore crust, like DOOM, 
DISRUPT, and EXTREME NOISE TERROR, that were active in the early 1990s, and most notably featured Felix Havoc 
(Havoc Records, Code 13, MRR/Heartattack columnist) on vocals. Their music still stands the test of time well and for those 
of you out there not familiar with them, this is pretty much where to go. (WM) 

(Havoc, PO Box 8585, Minneapolis, MN 55408, www.havocrex.com) 

DIALTONES - “Four Last Blasts” EP 

Four tracks from this now-kaput combo, issued posthumously. Based on this evidence, the DIALTONES were a 
loudmouth band of roughskins, reminding me more than a little of rock ‘n’ drek like the CANDYSNATCHERS and/or 
WEAKLINGS. Good sounds to shave your palms by. Best liner note: “write the DIALTONES at- you know what 0 Don’t 
bother.” (JH) 

(Rapid Pulse, PO Box 5075, Milford, CT 04640) 

DISASTER - “La Casa De La Caea” EP 

Sweden’s DISASTER ain’t no fucking picnic... This 1 1-song EP is an absolutely brutal, wall-of-noise, grind 
assault. Liner notes lead me to believe that it was all done by two guys. Watch out, this is some dangerous shit. (VH) 
(Sounds of Betrayal, Box 7092, 200 42 Malmo, Sweden, www.grind-core.com) 

DISCIDER - “Drinking to Forget the Future” EP 

A name can say a lot about a band. If you’re the kind of person who thinks you could be into a band named DIS- 
CIDER, this four-song EP may be perfect for you. I, on the other hand, found it to be tired, predictable crust. The lyrics to 
George the Ripper were great.but I d personally be way more into something that had some passion and intensity to it 
DISBOURBON, maybe. (VH) 

(PO Box 260276, Madison, WI 53726, discider@tripod.com) 

DISORDER - “We’re Still Here” CD 

They certainly are.. .here we have those classic Brit punkers DISORDER, still plugging away— and while they 
have slowed down the pace a bit— it’s still quite the distorted mess that they are known for. A bit" more sing-songy than their 
classic Distortion Till Deafness or Mental Disorder EPs, but still packing a decent punch. But seriously what is" up with the 
last track — I mean really what is up with Euro-punx and being into techno? Fuck that. (MT) 

(HG Fact, 105 Nakano Shinbashi M, 2-7-15 Yayoi-Cho, Nakano, Tokyo 164-0013, JAPAN, hgfact@japan.interq.or.jp) 

THE DREAMi IS DEAD - “Letter of Resignation” CD 

THE DREAM IS DEAD is from Indiana and contains one member from BURN IT DOWN. They crank through 
five songs of powerful mid-tempo hardcore that are full of surging rhythms, hammering drums and ferocious vocals The way 
the songs are structured actually reminds me a lot of BURN IT DOWN. They even do a respectable POISON IDEA cover 
for the last song on this CD. There was some cool cover art that was done by the “Obey Giant” guy Shepard Fairey. 
Unfortunately, the label stamped a big “For Promotional Use Only” right in the middle of it, pretty much ruining the effect 
Regardless this is pretty solid for their debut release. (RC) 

(What Else, PO Box 1211, Columbus, IN 47202, www.whatelserecords.com) 

DREXEL - “The Inevitable is Available” CD 

What a cruel, cruel prank. The first song on this CD totally rocks, like a crazy combination of the THUMBS and 
really good mid-tempo melodic hardcore that plays like one massive mosh part, all under brutal melodic vocals Then the rest 
of the CD starts, and it just sounds like fucking MTV bullshit. What a waste of fantastic, crushing production. I mean, I guess 
it’s a cut above the rest, and they’re willing to get weird sometimes, but I’m so utterly disappointed. If you see this in the bar- 
gain bin, the first song makes it worth picking up. Other than that, don’t pay more than a dollar. (MX) 

(Fork in Hand, PO Box 23123, Boston, MA 02123, www.forkinhand.com) 

D’ROTZBOUWEN/F.I.O.M - EP 

D ROTZB OUWEN from France (I think) give us three abrasive hardcore numbers — sounding almost exactly like 
UNHINGED in places with the super raw female vocals traded with a fella who gargles razor blades, great stuff. F.I.O.M 
from Japan turn up the heat a little with three tracks of Japanese staccato thrash complete with metal solos, the muddy record- 
ing loses some of the punch but I get the message. (TB) 

(Anomie, Feldsieper Str. 13, 44809, Bochum, GERMANY) 

DS-13 - “No One Will Thank You When You Are Dead” CD 

This is a discography of sorts, covering a variety of EPs and compilation tracks from DS-13’s first few years of 
existence. You already know the story on these guys. They turned the scene on its ear a few years ago with their relentless 
attack of thrashing punk songs. With the combination of musical talent, eye- watering speed, and songs mostly under a minute 
long, you really couldn’t go wrong in picking up any of their records. It looks like there are a couple of unreleased songs on 
here, plus a quality live set recorded at Burnt Ramen, a club located here in the Bay Area. If you missed out on these releas- 
es the first time around, then do yourself a favor and pick this fucker up. (RC) 

(Deranged, www.derangedrecords.com) 


I 





1 



DURGA - “Earn Your Red Wings, Mormon” EP 

DURGA plays keyboard-heavy — sorry, but I have to use the term — screamo. It's just what it is. I can’t 
just let a perfectly good word sit when it is needed for description. That said, the lyrics are anything but your typi- 
cal “emotional” lyrics. Instead they have the same feel as bands like the BLOOD BROTHERS or the RED LIGHT 
STING, with the sexual imagery and goofy song titles all thrown together in a way that screams, “I’m an art student! 
This is my band!” It’s all very modern. Who would have guessed the band is from San Diego? The accompanying 
letter says that “those who can appreciate the sounds of ORCHID, LOCUST, MILEMARKER” will dig the record. 
As a fan of several of the mentioned bands, I feel boxed in by this assumption, because while bands like MILE- 
MARKER and ORCHID, and even the LOCUST, present/ed me with something exciting and/or good musically, this 
record just kind of drags on and seems done, only years after this kind of stuff started appearing. (WR) 

(Transgalactic Ladder, PO Box 104, Wilmington, CA 90748) 

THE EIGHT BUCKS EXPERIMENT - “Volume Junky” CD 

Super macho rock. These guys have listened to one too many NASHVILLE PUSSY records. Some of the 
stupidest lyrics I’ve seen this month. Like this one from the song “Full Throttle : “It s hard being young punk and 
gifted, I just want to throw down and get lifted.” These guys don’t sound young, punk, or gifted, just old and tired. 
(CK) 

(Blue Moon, 2075 S University Blvd., #264, Denver, CO 802J0) 

EL CAMINO 53 - “The Worst Holiday” EP 

Ten tracks of relentless Japanese hardcore that sounds much like how being smashed in the face over and 
over with a steel chair feels. That’s a good thing. Their hammering drum and guitar attack never lets up nor gives 
you a second to breathe — which helps them to maintain their hectic and infectious energy. Fear not though, this is 
not simply another tuneless thrash band — cause these cats got hooks! (MT) 

(Too Circle, 3-29-18, Toyotama-minami. Nerima-ku, Tokyo #176-0014, JAPAN, toocir@xd5.so-net.ne.jp) 

EMSCHERKURVE 77 - “Lern Ma Deutsch! Lektion 1” CD 

EMSCHERKURVE 77 do covers, in German, of bands such as the US BOMBS, MURPHY’S LAW, 
AGNOSTIC FRONT, COCKNEY REJECTS, IRON CROSS, ANTI-NOWHERE LEAGUE, DROPKICK MUR- 
PHYS, BUSINESS, KILL YOUR IDOLS, ANTISEEN, and others. It sounds like they get some help from the actu- 
al bands themselves! This is definitely worth my time. (SR) 

(Knock-Out, www.knock-out.de) 

ENEMY YOU - “The Promise Breakers” EP 

Ball-less BAD RELIGION poppy punk. This EP is by no means bad. they have this shit down pat and if you 
like this kinda schlock this band are as good as any... But man, where’s the anger? Where’s the energy? Where are 
the punks? (TB) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

EVIL THINGIES - “New Shapes in Sound” 10” 

From Holland. The EVIL THINGIES are solidly in the genre of spooky-ooky organ-driven rock ‘n’ shake 
played for audiences of madly-frugging hipsters in sunglasses. Nothing “evil” about it in the slightest, though: New 
Shapes in Sound is catchy listening buf doesn’t boast much in the way of edge, danger and/or bad boy/girl appeal. A 
little too clean-shaven and well-scrubbed, maybe. Mannered. To damn the EVIL THINGIES with faint praise I 11 
call ‘em good at what they do and drop it at that. (JH) 

(Tear It Up, PO Box 7616, 5601 JP Eindhoven, THE NETHERLANDS, info@tear-it-up-records.nl). 

THE EXPLODING HEARTS - “Guitar Romantic” LP 

It’s only fair to warn you that I am a self-confessed fan of Screaming Apple Records. Really, it’s gotten to 
the point that if I see a record of theirs in a record shop that I haven’t heard of, I will generally purchase it anyway. 
(The deciding factor is usually whether or not the pic sleeve grabs me.) This is late 70s/early 80s power pop. Well, 
really it isn’t, but it sounds as if it could be. Honestly, some of the tracks sound like they’re straight off one of those 
Power Pearls compilations. If you like bands like PROTEX, TOURS, the DONKEYS or RUDI, you should enjoy 
this. Good stuff. Pop music. (KK) 

(Screaming Apple, Dustemichstr. 14, 50939, Koln, GERMANY) 

FABULOUS DISASTER - “Panty Raid” CD 

All-female band, musically sounding like NOFX (on a label distributed by Fat Records). A NOFX with- 
out the silly lyrics and the nasally vocals. A NOFX with nice (almost pretty... think INDIGO GIRLS) vocal har- 
monies, and Joan Jett as the lead singer. Overall, this record’s sound is tight, clean, well-produced, and a near-per- 
fect example of this punk rock genreTl’d say these ladies have got what they do down to a science. (AS) 

(Pink and Black, PO Box 190516, San Francisco, CA 94119, www.pinkandblack.com) 

THE FAD - CD 

I’ll be a monkey’s uncle: the FAD aren’t bad in the least. Six tracks of punchy sort-of power-pop mod 
rock ‘n’ roll from this East Coast three-piece. The singer’s got a sort of clear, earnest quality in his voice that I 
admire, and the band are clean, lively, and very economical in their approach. Vocal harmonies are pitch-perfect. 
Considering that this kinda music can go bad in a million ways, it’s to their credit that the FAD play it right. Another 
one of those left-field surprises. Nice.(JH) 

(LoFi, 250 Washington Ave., Ste. 1C, Brooklyn, NY 1 1205, www.infoentertainment.com) 

FINAL SOLUTIONS - “Eat Shit” EP 

The four tunes here, recorded in primitive monaural (and sounding like they were mastered on cardboard), 
do justice to their punk and protopunk roots. Their cover of the URINALS' “Hologram” is a haunting rockout with 
overmodulated vocals and drums that almost keep up with the beat; a great trashfest. Victim of Your Cunt has more 
of a classic HEARTBREAKERS feel, and “You Make Me Laugh” continues the noise assault through to its eternal 
groove. Strongly recommended. (SS) 

(Therapeutic, PO Box 13643, New Orleans, LA 70185) 

FLACHENBRAND - LP n f 

Never slower than breakneck, aside from the odd intro, these 15 songs range from really fast to blistering 
grind. INFEST-style vocals and fucking huge production, this wall of guitars delivers the goods. Completely solid 
from start to finish, even the times I find myself chuckling at the vocals, the shit still smokes. The song titles lead 
me to believe that these kids like to have a good time, although I really wish I could read the lyrics to “Whigger 
Cunt.” (WN) 

(R.S.R., S. Gessner, Str. D. Friedens 45, 07819 Mittelpollnitz, GERMANY) 


_ 


FLYING ENTERPRISE - “Dio Film” EP 

Melodic hardcore with a hint of the JAM and some occasional dissonance. Very emotional sounding (English) 
vocals. Extremely pretty gatefold sleeve and thick, milky-white vinyl. The production has the guitar a little on the quiet 
side unfortunately. Still, definitely a good release, the best thing I’ve heard from the Czech Republic for a while (cos 
you know I’ve got my finger on the pulse of that scene, right?) Note how I am avoiding saying “Czech it out!” or other 
cheap jokes like that. I like this. (AM) 

(Ultima Ratio, Kokavec Miroslav, Spacilova 1 1, 618 00 Brno, CZECH REPUBLIC, ultima.ratio@seznam.cz) 

FORCE FED GLASS - “Fine Timed Chaos Motherfuckers” CD 

I think that “Fine Tuned Chaos” is the perfect name for this release, because that is exactly what it sounds 
, like. FORCE FED GLASS hit me with a non-stop mess of twisted metal carnage on this discography CD. Crazy time 
changes, blast beats, swirling riffs, crushing breakdowns, brutal vocals.... it is harsh and kind of messy and I liked it a 
lot, especially the first six songs. Fans of bands like CONVERGE should take note. (RC) 

(Electric Human Project, 500 South Union St., Wilmington, DE 19805, www.electrichumanproject.com) 

FREAKS UNION - “The Beginning of the End” CD 

Stepping dangerously close to the too crisp and clean these folks have just enough speed and hooks to keep 
me interested. I’m getting a strong ANTI FLAG meets STRIKE ANYWHERE feeling (mostly because of the 
anthemic tuneage and sociopolitical bent of the lyrics) with a splash more hardcore. I must confess I’m more enam- 
ored by a band who couple accessible punk with smart lyrics, than a bunch of twerps singing about broken hearts. These 
folks rail against the war, hate and negativity and y’know, even though I’m a miserable jaded old fucker I can get behind 
that.... (TB) 

(Town Clock, 39 Station Rod, Thirsk, Y07 1QH, ENGLAND) 

FOUR MONSTROUS NUCLEAR STOCKPILES - “Give Peace a Chance” CD 

Ten blasts of raw D-beat punk from these French fellows— solid drum attack and loud as fuck guitars give 
this the edge that it needs to stand out from countless Dis-clones. Plus, with song titles like “Radical Fist Fuck Session” 
and “Q: And Grannies? A: And Grannies!!” how can you go wrong? (MT) 

(Panx. 8p 50 58, 31033 Toulouse, Cedex 5, FRANCE, infos@panx.net) 

FULL OF HATRED/SCUM OF SOCIETY - split EP 

Italian Dis-core courtesy of FULL OF HATRED. Thick guitars, a driving beat, some good changes, burly 
vocals, what more could you need? On the flipside, SCUM OF SOCIETY provide a wall of sound crust attack that is 
a lot more raw sounding than the FOH side. The singer sounds like the fellow from DEVOID OF FAITH bellowing 
over some “ultra-core violence.” Pretty damn good. I will be keeping an ear open for more from these Italio-crusters. 
(WM) 

(Disastro Sonoro, C.P. 162 - 54033, Carrara (MS), ITALY) 

GEIN & THE GRAVEROBBERS - “Songs In the Key of Evil” CD 

Any noodnick who was paying attention to the proliferation of surf bands in the early 90s can tell you that an 
instro band needs a stupid gimmick to distinguish itself from the pack (not a bad idea for bands of any sort, since it 
keeps gravity at arm’s length). GEIN and co. go the horror route with their surprisingly fresh take on the trad surf 
sound, "and more power to them for going as whole hog (blood-stained zombie look, titles such as “Wolfsbane,” atmos- 
pheric sound bites, brooding minor keys aplenty even in the fast numbers, a surf arrangement of an IRON MAIDEN 
tune [I'm taking their word for it — all I know from Eddie’s boys is “Run For the Hills”]) as MAN OR ASTROMAN? 
did the science fiction instro. Credo! (DD) 

(www.geinandthegraverobbers.com) 

GERMS - “Lexicon Devil” EP 

“Circle One” and “No God” are on the B-side. Perhaps you can find this bootleg, but for how much? Of course 
I love this to death. Darby Crash, Lorna Doom, Pat Smear: Los Angeles. Blood, glam, teenagers. Fuck you. ..it’s the 
GERMS! Just buy the CD or something — you should really have all the songs. (AC) 

(no address) 

GIANT HAYSTACKS - “How We Lost the War” EP 

GIANT HAYSTACKS, especially with “How We Lost the War,” has the choppy, tense punctuation of politi- 
cal UK “art” bands from GANG OF FOUR to RED MONKEY. The songs on the B side are held together less tight- 
ly, but are still imaginative and urgent. There’s also a DC influence here — LUNGFISH comes to mind. A stand out 
debut EP. (AC) 

(Giant Haystacks, PO Box 22971, Oakland, CA 94609) 

GLENN’S ARMY - “Major Threat” CD 

Guys, your folks are going to be pissed when they find out those checks they send you while you’re away at 
college went to recording this piece of shit. No excuses, kids, write Mom and Dad and apologize to them. I mean it. 
What the fuck were you thinking? They even sing about mooching off Mom and Dad. Early QUEERS/CLETUS wor- 
ship that goes nowhere but into the trashcan. Any CD/record/whatever that opens with the line “I can smoke pot until 
my brain rots” will never get my approval. Kids, grow some pubes, get a job, and stop writing horrible songs. Now go 
finish your letters to your folks while I do the world a favor and destroy this CD. (BM) 

(8 Roger Williams Ct, Portsmouth, RI 02871, glennsarmy@aol.com) 

GMORK/I SHOT CYRUS - split EP 

GMORK, hailing from Germany, have a blown-out speaker, recorded-too-high production quality about them 
that fits their brand of lacerated vocal-cord grind well. The noisy intensity and tempo changes are good enough to make 
me overlook the fact that the drummer occasionally has trouble holding a blast. Decent stuff. I SHOT CYRUS (any 
self-respecting movie fan should catch the reference), from Sao Paulo, deliver half a dozen songs of more straightfor- 
ward go-for-the-kill speedy hardcore/thrash. Very pissed and very effective. Both bands are pretty damn killer. (EL) 
(Na Und, F.Surmann, Scheffelstr. 27, D-44147 Dortmund/Brd, GERMANY, earslaughter@gmx.de) 

GOLD CIRCLES - “Goldcirde Dance Song” EP 

There’s a war coming, but the kids just want to get their groove on. This is the soundtrack to a thousand hip- 
ster ex-punk dance parties. Oh, what about the music, you ask? It’s disco with really great-sounding guitars. What’s 
wrong with dancing at the end of the world? Nothing, I am just a fucking curmudgeon who never could dance any- 
way. Ignore me. By the way, this is a picture disc. (AM) 

(Copter Crash, PO Box 6095, Hudson, FL 34667-3095, www.coptercrash.com) 




J 



GOONS - “Live at the Black Cat” CD 

I hate live CDs. ..always have, unless its SLF’s Hanx (which this isn’t), the GOONS are pretty good 
though, having that almost garage meets punk sound, not unlike the WEAKLINGS or even CANDY SNATCH- 
ERS.This CD also has some snazzy video footage and photos which is a bonus. The live recording is fine and the 
band play their tunes well... I just don’t like live CDs. The singer looks like Floyd which is a little unsettling too. 
(TB) 

(PO Box, 5648, Arlington, VA 22205) 

GUNS, LIQUOR & WHORES - “Serpico” 10” 

First, that’s a terrible name. I cringe every time I look at the cover. Ow. Second, damn! This is some rag- 
ing, vicious, motherfucking hardcore that makes up for their lack of a good name. Fast, wild, distortion, crazy, 
nuts — all words that come to my head as I sit here smashing my ears with their violence. I bet you a dollar to that 
donut that these fellows make for an intense live show. The vocalist alternates between over-the-top to crazy in his 
delivery. The raw as fuck recording only adds to the excitement on these vinyl grooves. They even toss in covers of 
both INFEST and TURBONEGRO, just to fuck you up. Rip-roaring. (WM) 

(Putrid Filth Conspiracy, PO Box 7092, S-200 42 Malmo, SWEDEN, putridfilth@bigfoot.com) 

HABLAN POR LA ESPALDA - “Le Petit Detail...” CD 

Really dark, chaotic emo-influenced hardcore from Uruguay that sometimes strays onto the more melod- 
ic, HOT WATER MUSIC side of things; sometimes the intricate, guitar-noodling side of things. Three cheers for 
lyrics, printed in English and Spanish, that don’t sound whiny, and for original song structures that kick the shit out 
of the listener. I approve wholeheartedly. (MX) 

(Sniffing, cc3288 (1000), Buenos Aires, ARGENTINA, rulemule@hotmaiI.com) 

HANGING ROTTEN - “Your Cheatin’ Heart” LP 

HANGING ROTTEN mix together two different styles on this release On some songs they tear through 
some blazing grindcore. Lots of speed and a touch of metal come together nicely on those tracks. On the other songs 
they drag through slow metallic sludge. Their slow songs seemed to go on forever, and 1 found them rather boring. 
The fast stuff was key and I would like to hear more of that. (RC) 

(Putrid Filth Conspiracy, Box 7092, South, 200 42 Malmo, SWEDEN, www.flyto/putridfilth) 

HAVEKS - “It’s Not Our Fault” CD 

OK, honesty time here. Everyone who does CD reviews here just accepts that you will get one, one, 
good CD a month maximum, and that’s grading on a curve. Since anyone with a day job can put out a CD now, the 
quality is just nowheresville baby. Here’s my monthly “B- on a curve” CD. Four-song CDEP of crunchy, by-the- 
numbers rock-a-roll that fails to annoy, bore, or irritate me. Bar band punk, but damn good bar band punk. (RW) 
(Vek) 

HEAD HITS CONCRETE/MY MINDS MINE - split 10” 

Crazy noisy shit from Canada’s HEAD HITS CONCRETE meets the furious grind of Holland’s MY 
MINDS MINE. I thought MY MINDS MINE was incredible on this — relentlessly pummeling energy,* blasting 
drums, and shrieking vocals, reminding me of German stuff like Y and STACK. The HEAD HITS CONCRETE 
stuff was a bit less impressive — too often being just a wall of noise and feedback. But then some people will view 
that as a good thing, and the occasional breaks are cool, so overall, a totally bruising piece of vinyl. (EL) 

(Putrid Filth Conspiracy, Box 7092, S-20042 Malmo, SWEDEN, putridfilth@bigfoot.com) 

HEAD HITS CONCRETE - “Hope, Fear and the Terror of Dreams” EP 

This has to be the heaviest record I’ve heard in a very, very long time. Hailing from Winnipeg, Canada and 
containing members of semi-legendary hardcore band SWALLOWING SHIT, this Canuck powerhouse will rip 
through you like a bullet train. Seemingly in the same vein as earlier DILLINGER ESCAPE PLAN and the like, 
HEAD HITS CONCRETE seem to bring something a bit more genuine to the table in terms of a sound more firm- 
ly rooted in hardcore than the earlier, and lyrics that recall the same politically-minded pathos of many SWAL- 
LOWING SHIT classics. A definite must-have for fans of brutally heavy, technical hardcore/grind. Get this. (SP) 
(Intolerant Messiah, PO Box 6162, San Mateo, CA 94403, www.intolerantmessiah.com) 

HEADCASE - “Ready to Go” EP 

These Belgian skinheads offer four melodic Oi! anthems for your perusal. Bords De Seine Records has 
another catchy skinhead band on their roster with HEADCASE. The men serve up three tracks exclusive to this 
EP, “Ready to Go,” “The Real Oi!” and “Here to Stay.” In addition, you get “Pass the Ammunition ” which is fea- 
tured on a full length HEADCASE CD called, appropriately. Ammunition. This is polished Oi! for people who 
think for themselves. Give this EP a spin as soon as you get an opportunity! (BR) 

(Bords De Seine, BP 85, 75561, Paris, CX 12, FRANCE, www.bordsdeseine.fr.st) 

HELLBOUND/WAVES - split CD 

This split release starts out with WAVES, from Kyoto, who are fast and energetic in the Japanese tradi- 
tion, with two songs of wild and crazy, poppy, fast, and totally energetic hardcore. HELLBOUND don’t know when 
to stop. Jesus, c’mon...what? An 1 1 -fucking-minute METALLIC A intro? Setting the scene for me to fall asleep, 
drooling all over myself, wanting to listen to BLACK FLAG. Aside from big time overuse of the guitar solo, 
they’re actually really good when they finally start playing! It’s dirty, harsh, abrasive DISCHARGE-influenced 
hardcore, but not worth the wait. (VH) 

(157 Kamiagu Maizuru, Kyoto 624-0913, JAPAN) 

HELLBOUND HAYRIDE - “Live” CD 

Hillbilly redneck rock recorded live in LA. Songs about cars, driving trucks and broken hearts. All the 
themes you’d expect. Too cliched and lacking any creativity. There’s even a cover of “Folsom Prison Blues.” (CK) 
(Split Seven, 12405 Venice Blvd. #265, Los Angeles, CA 90086) 

HENRY FIAT’S OPEN SORE - “Patmos Or Bust” EP 

I can’t tell you how excited I was to have a new HENRY FIAT’S OPEN SORE record waiting for me. 
Imagine my surprise when this record started playing. Who decided to put these guys in a proper studio? I can actu- 
ally make out lyrics and clearly hear guitar parts. Definitely, not what I am used to. I am actually shocked that they 
have a bit of the Swedish garage rock sound. Just a bit. Not that I’m complaining. It’s just disconcerting. The songs 
are still great. Fast, kick-my-ass rock and roll. Four songs that simply rock. Is Henry singing with an English 
accent? (CK) 

(Wrench, BCM Box 4049, London WC1N 3XX, ENGLAND) 


HOLDING ON - “Question What You Live For” LP 

OK, when I asked Mike Thorn how this compared to their previous LP, Mike said it was a lot more loud and 
slick and that I would probably like it. For once Mike is right about something other than the tastiness of burritos. This 
record is completely awesome! HOLDING ON has always been a band that existed somewhere between the more raw 
sounds of LIFE’S HALT and the more polished sound of KILL YOUR IDOLS, and while the production levels on 
this record may sound like something the latter might have done, the overall sound of this band is still somewhere in 
between. Lyrically, we have some powerful stuff about just dealing with everyday life while the world comes crum- 
bling down around you, and the songs are are sung with force. Man, I would do some lawnmower dancing to this shit 
if I didn’t think I would end up like a 300 lb. turtle on his back. Oh, not that a record would tell you this, but HOLD- 
ING ON rock live too. (JF) 

(Bridge Nine, PO Box 99052, Boston, MA 02199, holdingon612@hotmail.com) 

HORROR - “First Blood” 10” 

I hate to bring up past members’ endeavors, but it’ll help put you in the ballpark with these Brits. Ex (amongst 
others) VOORHEES, with the singer of IMBALANCE. It’s a straight ahead hardcore attack not unlike the former band 
but vocals like the more hardcore IMBALANCE numbers. This is what hardcore should be: fast as fuck, no frills, no 
metal, no bullshit — why England doesn’t have more bands of this caliber I don’t know, hopefully these fellas are start- 
ing a trend!! (TB) 

(Chainsaw Safety, PO Box 260318, Bellerose, NY 1 1426) 

HORROR SHOW - “Our Design” CD 

You know, it seems a bit silly that I am reviewing this when I just reviewed the vinyl version of this like 
two months ago. The difference is, the CD version includes their demo and one unreleased track. I also read recently 
that the singer of this band is in jail now for stabbing somebody in a fight. That is definitely bad news for the band, 
because this is a pretty damn good release, intense fast-paced hardcore that steers away from any metal overtones. Clear 
production and strong vocals round this out into a great release. If you are into bands with a youth crew edge to their 
music, like REACHING FORWARD, then HORROR SHOW may just be your thing. (RC) 

(Deathwish, 10 Lothrop St, Beverly, MA 01915, www.deathwishinc.com) 

HOT FLASHEZ/SOUTH BAY BESSIE - split EP 

This had all the. markings of a horrible experience: ugly collage art, horn players listed in the credits, and a 
healthy dose of press kit name-dropping. Thank God I was wrong. HOT FLASHEZ have horn players, but don’t play 
ska, just simple melodic punk with good lyrics and the occasional “funky,” MINUTEMEN-esque breakdown. SOUTH 
BAY BESSIE hail from Flint, Michigan — which, according to the film Roger & Me, was once voted the worst place 
to live in Amerika — and they crank out some good rock with clever lyrics. Not too original, but good for a spin or two. 
(MX) 

(Code Seven, PO Box 3482, Flint, MI 48502, www.geocities.com/southbaybessie) 

THE IMMORTAL LEE COUNTY KILLERS - “Love Is A Charm Of Powerful Trouble” CD 

I would really like to be a huge fan of these guys, but there is something here that drives me up the wall. I 
can’t really pinpoint what it is. I like the bluesy slide guitar and the cardboard box sounding drumming. I think it’s got 
to be the vocals. Something about them makes my skin crawl. I dig sincerity, but sometimes too much is simply too 
much. (CK) 

(Estrus, PO Box 2125, Bellingham, WA 98227) 

IN CONTROL - “The Truth Hurts” CD 

IN CONTROL bring us their second full length with 13 tracks of modern Nardcore consisting of the “fast 
verse and chorus with heavy mosh breakdown” formula. Those familiar with the eclectic IN CONTROL sound (every- 
thing from squealing metal guitars to melodic sing-along anthems) will not be disappointed. The cover art that I would 
have sworn was drawn by Ernesto, was done instead by some dude named Paul Nagel. A definite progression from their 
last album. (CC) 

(Indecision, PO Box 6052, Garden Grove, CA 92846) 

INKOMPLEX - “Ikarus” EP 

This is good melodic punk rock from Germany that reminds me somewhat of SO MUCH HATE and bands 
of that ilk. The lyrics are in German and there is no lyric sheet to get translated, so I don’t know what they are singing 
about. The record is on Plastic Bomb, though, so I doubt that this is a repeat of the whole ULTIMA THULE mess here. 
A good, but not great 7”. (JF) 

(Plastic Bomb, Swen Bock, Gartnerstr. 23, 47055 Duisburg, GERMANY) 

INSURANCE RISK - “No Pity” EP 

From My War Records, who introduced us to the SNOBS, here’s ten songs of furious, biter angst from 
Norway’s INSURANCE RISK. Fast, vengeful, straight edge hardcore without all the bullshit. Fucking great! (VH) 
(My War, 35 Kings Circle, Malvern, PA 19355, www.mywarrecords.com) 

IRON LUNG/LANA DAGALES - split LP 

Not to succumb to hyperbole, but this record kicks ass. IRON LUNG does it again, getting even better and 
stranger since their Demonstrations 7”. They’ve created a sound completely their own, and how many bands can you 
say that about these days? I usually don’t dig bands using a ton of noise on their albums, cuz it usually seems like just 
random sound filler, but on songs like “Cervical Laser” and “Horizontal Respiration” the feedback-manipulation they 
use is perfectly fitting noise control amidst odd time changes. And this is by far the best LANA DAGALES stuff I’ve 
heard too. Greg’s bass recording sounds positively monstrous, while their noodly start-stop attention-deficit-disordered 
grind will have your head reeling and your ears racing to keep up. There’s even some downright prog riffs too. Top 
notch material from both bands. (EL) 

(Boredom Noise, PO Box 11351, Oakland, CA 9461 1, www.boredomnoise.com) 

JOHN BROWN’S ARMY - “Who Fucked the Culture Up?” CD 

Hyper-fast guttural hardcore. ..23 songs here: 12 new ones plus stuff from splits and comps. I’m not really a 
fan of the throaty “I got marbles in my mouth” vocals. But that is easily overshadowed by the solid thrashy hardcore, 
awesome wall of guitar, and noisy chaos. ..what more could I ask for? (WN) 

(Gloom, PO Box 14253, Albany, NY 12212) 

THE KILL PILL - “Outside These City Walls...” CD 

In the style of (INTERNATIONAL) NOISE CONSPIRACY and the last ORCHID LP, the KILL PILL 
seem to be trying to promote the “revolution by rock ‘n’ roll” cliche doctrine (sample lyric: “baby, yeah... freedom here, 
freedom now”). While I do agree with Emma Goldman’s famous quote (“If I can’t dance, I don’t want to be part of 



i 


1 



your revolution”), sometimes bands try so hard to get your ass shaking that they forget to give your brain something to 
do as well. All we’re left with are ideas that have been better articulated hundreds of times. Unfortunately, that’s what 
happens here. (MX) 

(Uprising, PO Box 42259, Philadelphia, PA 19104, www.uprisingrecords.com) 

KNUCKLEHEAD - “Hostage Radio” CD 

KNUCKLEHEAD plays some above-average Canadian style punk rock. Really straightforward stuff, 
an themic... catchy songs. Verse-chorus- verse-chorus. The lyrics hre pretty impressive and the singer has a really good 
voice. I think he could do more interesting songs musically. These are real simple and get kind of boring towards the 
end. Overall, the band reminds me a little of a sped-up BOUNCING SOULS. Good stuff, without a doubt. (WR) 
(Longshot Music, www.longshotmusic.com) 

KROCH - “Surkrut on Beer” EP 

This is a waste of time. Horrible noise (bongo drums, guitar, and distorted vocals seem to be the instruments 
of choice here) attempting some form of “grind.” This is both uninteresting and a poor display of apparent boredom. 
Perhaps there is some humor involved here and I’m just not getting it. (SP) 

(Darbouka, c/o Fredi Brahim, 17 Rue de la Foret, 67340 Menchhoffen, FRANCE) 

LANGHORNS - “Mission Exotica” CD 

Fun and interesting instrumental surf music. Light, breezy, and rocky like a day at the beach. (CK) 

(Bad Taste, Box 1243, 221 05 Lund, SWEDEN, info@badtasterecords.se) 

THE LAPIS SANCTUARY - “Fairsay Question Hearsay” EP 

Quite an impressive EP here. Dark and haunting, The LAPIS SANCTUARY has a mood that immediately 
brings to mind other Illinois bands I’ve reviewed previously like KUNG FU RICK or LONG LIVE NOTHING. Its 
technical, brutal hardcore, but there’s just something more about it that sends this certain chill down my spine. On this 
EP, though, the LAPIS SANCTUARY seems to draw their songs out a bit more than the aforementioned and focus a 
bit more on this sort of neck-breaking groove many of their songs have. Quality stuff. (SP) 

(The Dupage Collective, 2 S 174 Sheffield Rd., Glen Ellyn, IL 60137, www.thedupagecollective.com) 

LATIN DOGS - “Warning!” EP 

Bootleg. The LATIN DOGS were a Michigan outfit that played fast, wore cop shades, and shot first (ask- 
ing questions later). You might have heard ‘em on Killed by Death. Yeah, anyway, this is what punk rock sounded like 
when I was first exposed to it at a tender age: rough noise with a grubby edge and lyrics about commandos with machine 
guns. A neglected classic, for reals. (JH) 

(Kazaamo, no address) 

THE LAWRENCE ARMS - “Porno and Snuff Films” EP 

If you aren’t yet familiar with the LAWRENCE ARMS, they are a Chicago-based three-piece with former 
members of the BROADWAYS and SLAPSTICK. Their music has a strong JAWBREAKER influence, and the songs 
on this record bear resemblance to later SCREECHING WEASEL. They are a good, solid band — not great, hut really 
good. While I must say that I prefer their first few releases to their more recent ones, which seem a little formulaic, this 
EP is not bad at all. It has two newer songs (as of a year or so ago, when this was released) and one song rerecorded 
from their split CD with SHADY VIEW TERRACE (my favorite LAWRENCE ARMS release). This record was 
released as part of the Fat Wreck Chords singles club, which means the only way you’re probably going to find this is 
for more than it is worth on eBay. If you want to hear some really solid punk rock, you might want to pick up one of 
their first few albums, but not this. (WR) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

LE SCRAWL - “Too Short to Ignore” LP 

LE SCRAWL pushes the limits of punk/hardcore to demented effect, filtering it through a far more original 
aesthetic than what your average punk considers to be a groundbreaking band (the RAMONES, groundbreaking?) 
Germany’s LE SCRAWL play a mix of minimalist hardcore, fused with jazz (from straight to lounge to free), adding 
an upbeat ska edge and a crust-core vocalist — think NAKED CITY sans the metal, with different horns, and without 
the NYC art-jazz pretentiousness that permeates their multi-faceted career. This LP is LE SCRAWL’S discography from 
1990 up to 1998 (they’re still together and playing, by the way) and includes an unreleased live set — an excellent record- 
ing — and, most notably, their five-song contribution of covers to the Rotten Fake comp. Their twisted rendering of the 
EXPLOITED, DE LA SOUL. TERRORIZER, CHIC, and LALO SCHIFRIN (the Mission Impossible song) will amaze 
and boggle your mind, leaving you scratching your head as to why you can’t be more original or even more adventur- 
ous. People with more open tastes, find this and be joyous, all the rest of you can go buy the newest ‘82 thrash revival 
record and think that that’s amazing. (WM) 

(Life Is Abuse, PO Box 20524, Oakland, CA 94620, www.lifeisabuse.com) 

LIGHT THE FUSE AND RUN - “1,2,3” EP 

I’ve heard a lot about this band and am ashamed to say that I didn’t pay any attention. It’s good hardcore with 
a light emotional side to it. The vocalist yells more than screams. The songs are fast with a wall of guitar and heavy-hit 
drums. Sure there are some slow, quiet parts thrown in, but the band manages to do it in a way that isn’t so wimpy. (PA) 
(Golden Brown, 101 1 South 48th St, Philadelphia, PA 19143, http://members.aol.com/lightfuserun) 

LOOKS LIKE RAIN/THE INFAMOUS - split EP 

Here you get two hardcore bands who hail from the Washington DC area. LOOKS LIKE RAIN play straight- 
forward hardcore with an East Coast flair and a slightly harsh edge to it. The INFAMOUS speed things up and go for 
more of a modem youth crew style. Not bad. (RC) 

($4 ppd: Grave Mistake, 1635 Generals Hwy, Annapolis, MD 21401, thatreasonisyou@hotmail.com) 

LOS OLVIDADOS/CLIFTONS - split EP 

The LOS OLVIDADOS reunion show and reissue stuff on AT was nice, but this is another band that would 
have been best not to try and record anything new. This is just second-rate stuff that is being done a lot better by many 
bands today. Just because you were around in the beginning doesn’t mean you can rest on your laurels. The CLIFTONS, 
on the other hand, play some fast snotty skate punk that makes me smile. (JF) 

(Super Speedway, 304 S.3rd St, San Jose, CA 95112) 

MHZ - “Action Figure” EP 

....very strange production here. ...NO FUCKING WONDER, Mr. JIM DIAMOND produced it!!!!! Loud, 
heavy.. ..fuzzy.. ..distorted...! I’ll tell ya boy, JIM IS THE MAN these days, ain’t he??? Most of the time I can give a 
rats- ass about some of the bands he’s producing, but fuck, he gives everything his signature sound!!!! Jim gets my pink 





totem Producer of the Year award for sure!!! He’s even a bad-ass bass player.. .one of my favorites at the moment!!!! 
Vote yes on Jim!!! (SW) 

(Flying Bomb, PO Box 971038, Ypsilanti, MI 48197) 

MACHETAZO - “Carne de Cementerio” LP 

Vinyl version of this death/grind band’s full-length debut originally released on Razorback Records, with 
one new track — a wicked grind version of BLACK SABBATH’s “Children of the Grave.” This is in a nice gatefold 
sleeve with new cover art, and I gotta say, this is the best fucking cover art I’ve seen in months. There is no way you’ll 
see it and not go, “That kicks fucking ass.” Anyway, this Spanish duo play old-school death/gore-grind in the vein of 
IMPETIGO, HEMORRHAGE, and of course CARCASS, with plenty of horror movie samples and slower, catchy 
metal riffs mixed in with the grind parts. They also do covers of S.O.B. and ABSCESS. I got this record when it orig- 
inally came out three years ago and it still puts a smile on my face every time I play it — so you’ll be digging this record 
for a while. (EL) 

(Throne, PO Box 8035, 33200 Gijon, SPAIN, www.thronerecords.com) 

MANDOWN - “Quicker Than Poison” EP 

I had no idea Capsule Records was still around. I haven’t heard of this record label in years. Anyway, on to 
the record, MANDOWN brings us seven songs of mid-paced, early 80s influenced hardcore with gruff vocals. The 
weak mixing job on the recording doesn’t help the stripped-down guitar style that this band is trying to achieve. This 
could be a lot better had they brought up the guitars. Instead, the vocals end up seeming way too loud. Get this band 
into a studio with a decent engineer, and I think you’ll have a much more impressive outcome. Not bad, but it could be 
better. (CC) 

(Capsule, PO Box 1861, Belleville, MI 48112) 


MIDGETMEN - “Pool Party Emergency” CD 

A punky release with a good mix of art influence such as MISSION OF BURMA and PAVEMENT. Some 
out-of-key vocals and some primal playing make this is a nice change of pace. These guys do crank them out when 
they wanna. Do I hear a little NEW YORK DOLLS? A strange mix that somehow works. (RL) 
(www.themidgetmen.com) 

MIGRA VIOLENTA - “HC Crust” LP 

Just as the title suggests, MIGRA VIOLENTA delivers 21 songs of crusty hardcore on this LP, along with 
healthy doses of youthful energetic hardcore not unlike LIFES HALT and TEAR IT UP. This has been out as a CD 
for a couple of years, and I’m glad it’s made it to vinyl — this shit is ripping from start to finish. Higher pitched screams 
instead of guttural growls make for better listening (think CRUDOS), and the songs are well-written throughout. 
Hailing from politically tormented Argentina, the frustration and anger at the current situation comes through loud and 
clear, and is certainly more relevant than a bunch of kids from SuburbanTown USA yelling about how war sucks. An 
awesome record made by some fucking cool folks from down south — highly recommended. (WN) 

(Les Nains Aussi c/o Nicolas Retiere, 1 rue Edgar Quinet, f-38000 Grenoble, FRANCE, migraviolenta@hotmail.com) 

MOLOTOV COCKTAIL/DISTRAUGHT - split EP 

This was recorded live at CBGB’s. The MOLOTOV COCKTAIL side is simple sing along, fuzzy guitar punk. Punk 
rock with enough of a pop tip to give you that elevated want to dance feeling. The DISTRAUGHT side is classic dirty, 
noisy, heavy D-beat hardcore. It sounds like the singer from SUICIDAL SUPERMARKET TROLLEYS is in this band. 
I like the DISTRAUGHT side of this the most, and it is a good live recording with most of the instruments coming 
through clearly. (JA) 

(no address) 

MARA AKATE - LP 

I didn’t know what to expect from this record as I’ve heard the name banged around all over the place, but 
have never actually placed the music with the reputation. That said, I thoroughly enjoyed this record. It’s choppy, tech- 
nical hardcore much in the same vein as bands like TEN GRAND and BRIGHT CALM BLUE, but with a pinch more 
in the way of oddities and quirks. Often there is this SKULL CONTROL/MONORCHID distorted snottiness going 
on with the vocals which definitely spices things up a bit, but the centerpiece to the songs themselves is surely the driv- 
ing, dueling guitars as they make war with the rhythm section on each and every track. A definite pick for those on the 
more “arty” side of things. (SP) 

(Alone, PO Box 3019, Oswego, NY 13126, www.alonerecords.com) 

MASONICS - “Live in London” CD 

Recorded live at the Dirty Water night in North London, this is Liam “Toerag” Watson’s band, you can tell just 
by listening. The bastard son of the Medway sound and the man responsible for many a lo-fi Billy Childish related 
recording, his own band are a little smoother than I expected. You still have the telltale old school Vox amp twang and 
the live sound gives the band a rough edge but there is definitely more of a soulful vibe than some of their Medway 
mates. Fans of Mr. Childish, POP RIVETS, THEE MIGHTY CEASARS et al, take note. (TB) 

(Smartguy, 3288 21st St, PMB #32, San Francisco, CA 941 10) 

MEDIA WHORES - “Master of Pop Hits” CD 

A collection from this Ohio band. I have some of this band’s singles and I always sensed a power pop thing 
going on. Although I still get that feeling here, I also get an early SOUL ASYLYM (who were good pre-MTV videos) 
and later HUSKER DU feel. There is even a live REPLACEMENTS cover here. A good pure pop release. Also tacked 
on hidden track-wise are some wacky Groucho Marx-type jokes (I’m guessing from old records although my knowl- 
edge of 50s and 60s comedy records is non-existent) and a couple songs from a live pirate broadcast. (RL) 
(Screaming Apple) 

MISFITS - “Cough Cool/She” 

Ah, God. The first MISFITS single, a self-released oddity that bears little resemblance to the band known 
for the Walk Among Us LP, Jerry Only’s glue-on Devil-Lock, and their line of GI Joe-sized action figures. Cough 
Cool/She is a document of the band way, way back when they consisted on of Glenn Danzig on electric piano, Jerry 
(Only) Caifa on bass, and a hairy-chested jazz drummer known only as “Manny”. I dropped too much dough on an ear- 
lier bootleg of this single many a year ago — I loved to play it for MISFITS fans and watch their faces drop. Rather than 
menacing and musclebound, MISFITS 1.0 were quirky and dorky, a group more suited the Lodi Junior High talent 
show than the punk rock stage of CBGBs. The voice is already in place, though, and it’s a neat hint at things to come. 
Only for fanatics, since both tracks are now readily availble on official releases. Clay-colored vinyl. (JH) 

(no address) 


I 




MORTICIA’S LOVERS - “Rock ‘n’ Roll Overdose” LP 

They call this here music “sexual pom rock ‘n’ roll.” And I ask “Hey man, what’s wrong with being sexy?’ Nothing 
dammit! This is pretty fun stuff— -definite dance party music. A very similar kind of enjoyment that one would experience while 
listening to LOLI & THE CHONES or maybe THE BANANAS. I hope you know what I’m talking about. Italian poppy 
garage punk sing alongs alternating snotty male/female vocals Plus a BUZZCOCKS cover! What else do you need? (AS) 
(Zaxon Virille Action, www.zaxonvirileaction.com) 

MR. CALIFORNIA & THE STATE POLICE/VILENTLY ILL - split EP 

I have always said that there need to be more one-man bands. Here you have two of the most interesting ones around. 
The wonderfial MR. CALIFORNIA & THE STATE POLICE delivers nine songs on a single side. This is the most amazing 
trashed-out punk rock delivered at rapid fire, full throttle, blink-and-you-missed-it speed. Naturally, your new favorite song will 
be “I Want to Fuck a Midget,” as pictured on the front cover. Mine is “Sexual Robot.” It’s kind of gross, but it’s catchy. VILENT- 
LY ILL is Mr. California’s older brother. He’s been around the block, so his songs are longer. Only five on his side. But he rocks 
with the same passion and breakneck speed you’d expect. I can’t decide which song is my favorite. It’d either be “Heroin is Stupid” 
or “Playin’ With Matches.” This is fantastic. (CK) 

($4 ppd: Proud To Be Idiot, PO Box 410325, San Francisco, CA 94141-0325) 

MUNICIPAL WASTE - “Waste ‘Em All” LP 

Damn, these guys played here recently for the Super Sabado Gigante fest and proceeded to dominate everyone in atten- 
dance with their slaying stage presence. Between heckling the audience and doing a BODY COUNT cover, they cranked through 
song after song of blazing thrash/metal/crossover. These guys aren’t afraid to hide their influence from tons of bands. Hints of 
everyone from CORROSION OF CONFORMITY to CRYPTIC SLAUGHTER to IRON MAIDEN slip into these songs. 
Cut the shit (but don’t cut the hair) and start the pit motherfucker! (RC) 

(Six Weeks, 225 Lincoln Ave, Cotati, CA 94931) 

NAPALM SUCK/N.O.Y.F.B. - split EP 

I don’t think I’ll ever be able to understand what people see in the noise-blur-grind genre. I’m sure you’re all nice 
people, as 1 know a couple people personally involved in this record are, but your music makes me want to drive penny nails into 
my ears to make it stop. This is, I’m sure, a ringing endorsement for you weirdos who like this, so get it while the getting’s good. 
(EL) 

(Constant Pain, 1300 N. Douty, Hanford, CA 93230) 

THE NEDERBIETELS - “Kejje Nagaan/Comin’ Home” 

Bouncy and quite creditable (outside of the “Dutch” accents on the A-side, but I’m no linguist and I could very easily 
be wrong on that count) Eurobeat that would not sound out of place on a Nederbeat comp. (DD) 

(Tear It Up, PO Box 7616, 5601 JP Eindhoven, NETHERLANDS, Info@tear-it-up-records.nl) 

NEGATIVE APPROACH - “lied Down” LP 

Yes! This is an official reissue of an LP that many punks consider to be one of the defining moments in American 
Hardcore Punk Music. If you talk to hardcore fans, you will find almost universal agreement about the massive power this 
Michigan quartet delivered back in 1983. Tracks like ‘Tied Down,” “Nothing,” and “I’ll Survive” are in the pantheon of the “Best 
Hardcore Songs Ever Recorded: Anywhere, Anytime!” Punks, if you don’t own this, get “Tied Down” right now! Your life will 
be more complete! (BR) 

(Touch & Go, PO Box 25520, Chicago, IL 60625) 

NIKAD/CHILDREN OF FALL - split CD 

I reviewed a CHILDREN OF FALL LP a few months ago and may have come down too hard on them. They’re 
way fucking emo, that’s for sure, but these two songs are much more gritty, chaotic, and intense than I remembered, and are real- 
ly good. They keep things heavy and energetic while maintaining that mid 90s emo feel. They do what they do really well, but I 
still stand behind my comments about the hearts and the interludes... That’s not emo, it’s just bullshit. NIKAD is Croatia’s answer 
to YAPHET KOTTO, executing the style with ease. (VH) 

(Black Star, Suite 757, 21 1 65 Malmo, SWEDEN, www.blackstarfoundation.com) 

NINE SHOCKS TERROR - “Zen and the Art of Beating Your Ass” CD 

This is a collection of NINE SHOCKS TERROR from 1996-1999, including their Zen LP, Mobile Termr Unit EP, splits, 
and comp tracks. Plenty of balls-out, full-tilt hardcore. 25 different tracks. 30 tracks total! I love these kinds of collections. (HM) 
(Havoc, PO Box 8585, Minneapolis, MN 55408, www.havocrex.com) 

NIPPLE ERECTORS - “The Lost EP’ 45 

This early UK-punk outfit made its early splash with its 1978 King of the Bop EP; the two tracks on this single were 
recorded in the same recording session. The band tears into their mid-speed rockers with accents as thick as tar, a jangly guitar 
backdrop, and catchy hooks that work best on “So Pissed Off’ — a repetitive tune more lively than any of their “official” releases. 
Recommended. (SS) 

(no address) 

THE NITZ - “Channard” EP 

Yes! Eight hardcore tunes with a fast crisp sound, raging guitars, and stand-out male vocals. Catchy. A fucking excellent 
release. (SR) 

(Reptilian, 403 S. Broadway, Balt, MD 21231, www.reptibanrecords.com) 

NOFX - “Zyelon B Bath House/Spaghetti Motel” 

Here’s something most people don’t hear me say too often — I bke NOFX. I’m not proud, but they are fucking great 
at what they do. Here we have their contribution to the Fat Wreck singles club. On side A we have NOFX sounding more like 
PROPAGANDHI than their normal “wacky” persona, with their track addressing corporate fascism. Wait, did I just hear the man 
that declared that “. . .if a big animal had a chance, it wouldn’t take another glance, it will eat you up. . .” on their Liberal Animation 
LP utter “Ronald Mcdonald — paint a happy face on a McMurderer. . .” Wow. This record is great — good luck tracking it down 
though — as with all the Fat Club singles, it is long gone. (MT) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

NO DOCTORS - LP 

Time warp to 1994 (or so), when legions of too-smart-for-their-day-jobs musicos put out weird, fucked-up mod- 
ernistic odes to 70s psych/metal, squeezed through the cheese cloth woven by the MELVINS, HARRY PUSSY, and the b-team 
Amrep bands. NO DOCTORS have been around for long enough to have breathed the same atmosphere, and have volunteered 
to fly the soiled Unen for a seemingly shattered movement. The back cover has them posing in true VILLAGE PEOPLE pris- 
matic spray, pick ‘em! A deliberately retarded record. (RW) 

(Freedom From Records, http://ffeedom-from.com) 




4 


NONE MORE BLACK - “What’s Inside Bone” EP 

As you may or may not know, this is the new band from Jason Shevchuk, former singer of the Philadelphia 
powerhouse KID DYNAMITE (who, I should add, are doing two reunion shows in April in their hometown. Send me 
money so I can buy a plane ticket and fucking go). When they broke up, it made sense that they would split into two 
bands: PAINT IT BLACK lies more on the hardcore fury side of things, while NONE MORE BLACK takes what- 
ever melodic tendencies KID DYNAMITE had and expands on them. It ends up sounding like slower KID DYNA- 
MITE songs (think “S.O.S” off of Shorter, Faster, Louder) filtered through some JAWBREAKER and more straight- 
forward rock. The lyrics are still venomous, and Jason’s voice still sounds pretty raw, but overall it’s missing some 
much-needed intensity. I am anxious to see what they do on their full length, due out on Fat later this year. (MX) 
(Sub-division, 912 N. 4th St, Philadelphia, PA 19123) 

THE NOVAS - “The Crusher” EP 

What can be said about a rock and roll classic like “The Crusher” (especially that isn’t mentioned in the enter- 
taining and informative as always Norton liner notes)? I’ve already got it on 45 as well as on four or so comps, but the 
cover photo of the band (geek coolness personified) alone makes this an essential purchase. Also includes the instro 
B-side and two very spiffy previously unissued folk punk tracks. (DD) 

(Norton, Box 646 Cooper Station, New York, NY 10276) 

ON A SOLID ROCK - “Where Kids Don’t Play” EP 

ON A SOLID ROCK, from Finland, play a mix of pop, emo, and hardcore. At points I found it quite listen- 
able, but there are these melodic emo parts with horribly sung vocals that immediately drive me away from this release. 
I mean, that guy’s voice literally had me wanting to leave the room or stop the record. Stick to the screams and leave 
those passionate cries on the cutting room floor. (RC) 

(Commitment, Klein Muiden 38, 1393 RL Nigtevecht, NETHERLANDS, commitment@poisonfree.com) 

ONE MAN ARMY - “Victoria/She Wants Me Dead” 

This 45 was recorded back in October 2001 and by that point, the band had shifted to a full-fledged pop-punk 
outfit. This band’s best record was their first TKO single “Bootlegger’s Son/Another Deadend Story” that they put out 
many years ago. It’s been all downhill since then. This current pop approach is essential listening for the Warped 
Tour/alternative rock/ Macy’s punks. The “steetpunk lite” that ONE MAN ARMY plays remains very popular with the 
youth today. Get it now if you want it — it’s part of a limited Fat Records Club Issue. (BR) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

ONLY WAY OUT - “Twoje Slowa” EP 

A sweet record from this straight edge hardcore band out of Poland. This definitely has a more raw, older 
straight edge sound not unlike the UNITY 7”. The singer almost has that trademark California voice inflection that a 
lot of the California bands had around 1984- ‘85 (except for the fact that he is sings in Polish). A great debut worth 
checking out. (CC) 

(Robert Matusiak, PO Box 7, 02-792 Warszawa 78, POLAND, refusexresist@go2.pl) 

THE ORDER OF THE FLY - “Dying Season” EP 

This record is so cheesy, it’s fucking great. Imagine a band obsessed with horror rock and industrial dance, yet 
with a definite FACE TO FACE influence on the first track. The next track is an ode to Halloween done in a boring 
old modern hardcore style with an industrial edge. It’s the second side where this record really shines. After you get 
the obligatory cover of the MISFITS’ “I Turned Into a Martian,” you get a really funny cover of NINE INCH NAILS’s 
“Head Like a Hole.” That track alone had me rolling. Oh and the fact that MRR’s lights keep flickering just add to the 
whole aura. (JF) 

(Mad Science, 1580 F St, San Bernardino, CA 92405, www.orderofthefly.com) 

ORPHANS - “Nobody’s Fool” EP 

Trash can recording... girly vocals... neato layout... this is good. It sounds like something Rip Off might put 
out (if the production was stronger). This lady sounds angry about something... It’s aggro dude. Garage swanky aggro 
girl rock. Fer sure. (BM) 

(Malo, 6307 Northside Dr, Los Angeles, CA 90022, dirtyorphans@yahoo.com) 

OTOPHOBIA/R.O.I. - split EP 

OTOPHOBIA: quick tempoed, crust-vocaled hardcore. Solid guitar work, a good recording, a cool skull draw- 
ing on the cover; thumbs up. R.O.I. are similar enough in sound to OTOPHOBIA to warrant a split between the two, 
although R.O.I. has a more Euro hardcore sound than their split-mates, reminding me slightly’ of Spanish crossover 
monsters OVERTHHHROW, of all bands, on the second song. Overall, I like the OTOPHOBIA side more at this 
moment. (WM) 

(Burrito c/o Sound Idea, PO Box 3204, Brandon, FL 33509-3204) 

OUTBREAK - “Eaten Alive” EP 

Are they really from Maine? Five tracks of top-notch hardcore that brings to mind that modern moshy style 
you often times find being released on Bridge Nine (think TERROR or AMERICAN NIGHTMARE) these days mixed 
with the raw edge of bands like TEAR IT UP or DOWN IN FLAMES. Powerful recording that serves the songs quite 
well, and more of that top notch Mike Bukowski artwork. (MT) 

(Western Front, 1812 1 1th St., Manhattan Beach, CA 90266) 

PAGENINETYNINE - “Document #7” LP 

First off, this LP came out some time ago as we are already up to.. .what is it now? Document 1 1 ? I think that 
was the most recent 7”... Anyway, I’ve always been a fan of PAGE 99 ever since I saw them on their first and second 
US tours. The band is explosive and has an excellent sense for the dramatic — we know what to expect by now from 
PAGE 99. However, that statement itself seems like a double-edged blade. Where the earlier recordings seemed to aim 
for the jugular, this release aims a bit lower and concentrates on these droning epics that really don’t have the closure 
or impact that was such a feature of previous “documents”. This is not to completely discount this shift in strategy — 
the musicianship is excellent, the production even better. I just wish that the full force, not mere traces, of their previ- 
ous urgency were more visible on this record. (SP) 

(The Magic Bullet, PO Box 6337, Woodbridge, VA 22195, www.magicbulletrecords.com) 

PANIC IN DETROIT - “We Own Everything” CD 

I swear this sounds like a punk rock GIN BLOSSOMS/tambourine and all. Throw in the WEEZER influence 
that no one can seem to shake these days, and you’ve pretty much got this Houston, Texas-based band. I like it, but hey, 
I liked the GIN BLOSSOMS too, so go figure. (MX) 

(Silverthree, PO Box 3621, Fairfax, VA 22038, www.silverthree.com) 




PARASITES/SEVENFOOTMONSTER - split CD 

PARASITES, not the better-known American band, but a British band which existed in the late 80s, start off this 
CD with seven songs. They are really straightforward like the RAMONES, but also with the punch of DEAD BOYS or the 
REPLACEMENTS’ more rockin’ stuff. Good stuff. SEVENFOOTMONSTER does similar kind of stuff, sped up a little, with 
annoying metal riffs kind of inserted all over the place. The lyrics are not great. Not a bad split, but nothing to write to Indiana 
about, either. (WR) 

(Retch, 48 Rose Crescent, Woodvale, Southport, Merseyside, PR8 3RZ, ENGLAND) 

PHOBIA/RESIST AND EXIST - split LP 

Well after a super long intro, RESIST AND EXIST finally got down to business and blow through some great 
charged political/peace punk. I bet these kids have spent years listening to everyone from CONFLICT to CRUDE SS culling 
their politics and musical styles. PHOBIA (who have been one of my faves for a long time) fucking kill it with five more songs 
of eye watering grindcore. I have noticed that over that last few releases they are starting to slow things down a bit more here 
and there, but when they kick down the blast beats hang on to your seat. This is a great release combining these two Southern 
California bands. (RC) 

(Profane Existence, PO Box 8722, Minneapolis, MN 55408, www.profaneexistence.com) 

PILGER - “Silence” CD 

The UK’s PILGER present to you fifteen tracks of .quick-paced melodic hardcore — sounding a bit like early 
SEVEN SECONDS — especially on the demo tracks that are included. Good stuff here that is definately worth hunting down. 
(MT) 

($ lOppd; Southcoast, 38 Gatcombe, Southampton, S031 5PX, UK) 

THE PINE - “Lead Blocks for Feet” LP 

Sure, they may be trying to sound like the HATED, but they still just sound like EVERGREEN (from California), 
whining vocals and all. (PA) 

(Alone, PO Box 4834, Richmond, VA 23220, www.alonerecords.com) 

PINK SEXIES/BITTER PILLS - split EP 

Bratty and sloppy, that’s how I’d describe PINK SEXIES. And I mean that in the best possible way. Bopping, sim- 
plistic amateur garage rock that is pretty catchy. You have to be able to handle whiny, obnoxious vocals. I think the music com- 
plements them nicely. BITTER PILLS go for a more authentic garage sound. You could easily mistake this for a long lost track. 
Lo-fi recordings with an organ and distorted vocals. This is great! (CK) 

(Domesticity, PO Box 753, Knoxville, TN 37901-0763, pink_sexies@hotmail.com) 

PILOT SCOTT TRACY - “Flight 0713” CD 

Electronic beeps and burps, squeaks and squawks. 21st Century Jet-age chic. Lyrics scrawled on cocktail napkins 
pocketed from the SFO International Wing’s commuter lounge. PILOT SCOTT TRACY want to be (I can tell) an all- 
American counterpart for Old World duo STEREO TOTAL. They work the same kinda synth-cabaret routine, alternating 
punchy and/or ironic girl pop with liteweight science fiction rock. I can and do enjoy Flight 0713 but I concede that it’s not for 
everyone. The Analog Set will appreciate it, those who prefer their music painted in black & white stencils will not. A suprise 
winner. (JH) 

(What Else?, PO Box 121 1, Columbus, IN 47202, www.whatelserecords.com) 

PLAN OF ATTACK - “Watch it Burn” EP 

Tough straight-ahead hardcore from Chicago. I could see these folks fitting right in with the Bridge Nine crowd. . . not 
typically straight edge sounding but you know there’s some Xs, crowd sing-alongs and pile-ons at their shows. . . I’m in. (TB) 
(Silent Architect, 1664 N. Vine, #107, Chicago, IL 60614) 

POINTING FINGER - “Transcend” EP 

This is good. No wait, this is really good. I am going out on a limb here by saying that this has to be one of the bet- 
ter European straight edge bands going right now. This was produced and mixed by the infamous Menno Bakker, who has 
worked with a lot of great bands (SEEIN’ RED and SIN DIOS, to name a few). The vocals and music remind me a lot of BET- 
TER THAN A THOUSAND. However, the lyrics are more relevant than anything that BETTER THAN A THOUSAND 
did, covering everything from homophobia in hardcore to the war industry. The songwriting is just sick. Props to the drummer 
for stealing the CHAIN fill in their song “Cast of a Thousand Fools.” My only complaint is the name, but I got over that the 
minute I flipped the record over. Get this. (CC) 

(Commitment, Klein Muiden 38, 1393 RL Nigtevecht, THE NETHERLANDS) 

POINTING FINGER - “Reasons Not Rules” EP 

I’ll give you three guesses as to what style this band play. . . Yep, you got it in one — '88 style youth crew. Wait, before 
you skip to the next review. . . this rules. Well played, rough and super energetic youth crew with a huge nod to that Ray Cappo 
dude. What makes this EP (and the other reviewed this issue) so different from the rest of the youth crew pack are the lyrics: 
this Portuguese band have some super smart politicized lyrics about industry greed, racism etc. I’m typing with only two fin- 
gers as both hands are pointing as I listen to the record. . .(TB) 

(Still Holding On, 65 Au Long Pre, 4053 Embourg, BELGIUM) 

PRESSURE - “Anthem” CD 

Never heard of these folks, but their streetpunk meets STRIKE ANYWHERE with super-political protest lyrics 
sounds pretty good to me. Even though there is nothing in the music to indicate it (apart from the PETER TOSH cover) I get 
a bit of a rasta feel from the lyrics which is odd but I like it nonetheless. (TB) 

(Uprising, PO Box 42259, Philadelphia, PA 19104) 

PROJECT ROCKET - “New Year’s Revolution” CD 

Punk? Maybe not. But if you are into emo pop, this here will satiate you. They write damn good emo pop songs 
with minimal annoyance on my part. Not only is it emo pop with handclaps, but they’re straight edge, too! Musically, it’s RED 
FORTY meets ALKALINE TRIO and the GET UP KIDS. Lyrically, it’s the sentimental bullshit and all. It’s harmless, but they 
do the emo pop thing real well. Emo pop. (WR) , 

(Uprising, PO Box 42259, Philadelphia, PA 19104, www.uprisingrecords.com) 

PUDOR CRONICA- “Pudor Cronica/Vull Ser El Teu Gos” 

This rules. First off, the B-side has got a cover of “I Wanna Be Your Dog” by IGGY & THE STOOGES sung in 
Catalan. These guys are from, you guessed it, Catalonia (I’m stupid ...probably spelled that wrong). Let’s not neglect the A- 
side, cuz it’s great too. Sorta reminds me of the Catalan metal version of the DEAD KENNEDYS. Judging from the cover they 
got ahold of an issue of Craphound over there... Good shitz, buy it punk! (AS) 

(Ripper, PO Box 1 1 , 43720 L’Arbo?, SPAIN) 



RADIO 4 - “Gotham!” LP 

This LP is at least a few months old by my reckoning, and it’s amazing how rather played out their sound 
has become in the wake of innumerable bands playing in a similar disjointed pseudo-new wave style. It’s just a case of 
too many cooks on the dance floor. Their first LP on Gem remains their greatest moment. (RW) 

(Gem Blandsten, PO Box 356, River Edge, NJ 07661) 

RADIO 4 - “Dance to the Underground” 12” 

Woah. Here goes. This is really interesting rock/dance music with kind of a new wave twist. The more I lis- 
ten, the more it’s pulling me in. The darker undertones in “Caroline” kind of remind me of TONES ON TAIL, but the 
vocals here are much more straightforward and abrupt. Fuck, I’m even digging the remix side. God, I got to go danc- 
ing. (SR) 

(Gem Blandsten, PO Box 356, River Edge, NJ 07661) 

RANDY - “Pm Stepping Out” EP 

I feel that this band could be a lot better that what they’ve been so far, occasionally they write a great punchy 
pop punk classic that raises your expectations high only to be brought down by the next tracks which will undoubtably 
be some plodding smart-ass knees-up. This record has tracks, song number one is good solid upbeat poppy punk, song 
number two is an average upbeat poppy punk track, and song number three is a slow mildly amusing political song that 
has an annoying chorus. It’s okay, but I think I still prefer RANCID to RANDY. (AD) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

THE REAL McKENZIES - “Another Round” EP 

Some odd friends of mine liken the ancient, Scottish warriors as original punks. The spiky hair, face paint (?) etc. If 
that is true, then this band is original Scottish hardcore. The singer has a vague accent and a beer-drinking scratch in 
his voice. The music is like good BAD RELIGION, but... with bagpipes!!! I say fuck! If you plan on buying a pint and 
a 7” tonight, buy this record. (JA) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

REVERSAL OF MAN/COMBAT WOUNDED VETERAN - split LP 

Here are two bands that I’ve always regarded as soldiers in the same war, conspirators in the same conspira- 
cy, their names both so often good markers of a sound that has captivated the ears and “youth-medium” t-shirts of so 
many adoring youngsters. They were almost destined to be on a split LP together. The REVERSAL OF MAN side 
contains five tracks of technical, brisk hardcore with their singer’s characteristic raspy voice booming over it all — a lit- 
tle heavier than their previous material. It’s good and polished, but even my patient ears got a little tired of waiting for 
something more to happen. COMBAT WOUNDED VETERAN, going in the “artistic” direction that seemed all too 
obvious for them, combine the hard-hitting approach of REVERSAL OF MAN with little oddities and blast-beats 
that pierce my ears like needles — sometimes this does become painful. I find the COMBAT WOUNDED VETERAN 
side a bit more of a better listen just because they mix things up (both vocally and musically) a bit more. An interest- 
ing record even if it is two “screamo” bands that may have been around a bit too long. (SP) 

(Schematics c/o No Idea, www.noidearecords.com) 

RIOT 99 - “Last Train to Nowhere” CD 

Can we say dumb spikey hair punk? Can we say really dumb? RIOT 99 sound, musically and lyrically, like 
GBH before GBH went metal. GBH might have had better and more intelligent lyrics, and GBH were dumb. This disc 
is dumb, but it is sort of fun. (JF) 

(Longshot, 726 Richards St, Vancouver, BC, CANADA) 

ROCK KILLS KID - CD 

A mix of good pop punk with emo overtones and radio ready pop ala the bands you love to hate for selling 
out, GET UP KIDS, ALL-AMERICAN REJECTS and early JIMMY EAT WORLD. Although this may not be strong 
enough for the big time, it is an enjoyable punky pop release at this moment. (RL) 

(Fearless) 

ROMANCE MORGUE - “The Demo Days” CDEP 

Five songs from the ROMANCE MORGUE. QUICKSAND, DRIVE LIKE JEHU, NEUROSIS, and JR 
EWING all come to mind. Heavy and sorta dark sounding stuff, with an eyedropper of the flavor that FUGAZI implant- 
ed into punk rock music 15 years ago. The is the year 2003 and this is the direction of modern punk rock. This band 
played its last show 2/1/03. Thumb up. (AS). 

(Alone, PO Box 3019, Oswego, NY 13126, www.alonerecords.com) 

RORSCHACH - “Live In Italy— 6/18/92” LP 

This is a mother of a release. RORSCHACH, the now legendary metal-hardcore-punk band, existed in the 
early 90s. This is a legitimately released live album of a show from their 1992 European tour. The recording is very 
good. It definitely gives a feel for the tightness of their live show. The LP contains 17 songs, which includes two-thirds 
of their Remain Sedate album, some from the Protestant album, songs from the Needlepack 7", plus a BLACK FLAG 
cover. The record is beautifully packaged, which is probably the best part of the album for me. There is one booklet 
full of flyers and one full of photos and a nicely screened cover and a poster. Personally, I am hardly ever a fan of live 
albums. But if you are interested in hearing what a live RORSCHACH show was like, this is a perfect opportunity. The 
release is really well produced. There is also a non-limited CD version of this, which is cheaper and more widely avail- 
able. (WR) 

(Gem Blandsten, PO Box 356, River Edge, NJ 07661, www.gernblandsten.com) 

RORSCHACH - “Protestant” LP 

One part CORROSION OF CONFORMITY, one part VOIVOD, one part BLACK FLAG— their brutal 
and definatively intense hardcore assault combined with trademark “I-just-drank-a-razorblade-and-shattered-glass- 
milkshake” vocals set the standard for the genre. Much like BLACK FLAG’S Damaged LP, listening to this record, 
even ten years after I first heard it, makes me want to smash everything in sight. While neither record sounds much 
akin to the other — they both contain that paticularly perfect yet volatile mixture of angst, rage, fury and hope that 
equals sheer sonic perfection. Fuck. “Why am I alive?” Brilliant. (MT) 

(Gem Blandsten, PO Box 356, River Edge, NJ 07661, www.gernblandsten.com) 

RUIDO - “Solidad Cortada” EP 

Let me say something here: my old band played with these guys in Santa Fe, and they fucking ripped my fuck! I bought 
the two seven inches they had then, and I was not disappointed. This new one is also great. Bit like CRUDOS with 
more guitar hooks and a couple of choruses thrown in. Get this and everything else which is RUIDO. (JA) 

(Power It Up, Postfach 1 1 14, 38156 Vechelde, GERMANY, www.power-it-up.com) 



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J 



THE RUMBLERS - “Hold on Tight” CD 

Second rate melodic punk ‘n’ roll. Their style seems a bit influenced by earlier SOCIAL DISTORTION 
but they’re way too poppy. Very mediocre. (SR) 

(Switchblade, PO Box 266, Pedricktown, NJ 08067) 

RUNNAMUCKS - “On the Brink” LP 

What we have here is a really good LP from Florida’s RUNNAMUf KS. They are a thrashy punk out- 
fit often playing at breakneck speed, but slowing it down with enough interesting parts to catch my attention. It is 
not so much hardcore-influenced thrash as it is just punk rock played super fast with angry lyrics. I like this and 
can imagine fun live shows from these brudes. (WR) 

(Kangaroo, Middenweg 13, 1098 AA, Amsterdam, NETHERLANDS, Tyson@xs4all.nl) 

THE SADDEST LANDSCAPE - “Cover Your Heart” EP 

This record just screams emo, from the music, to the band photos, to cute little sayings on the insert like, 
“for a million hellos and twice as many goodbyes.” The vocalist screams to breathless endings. The music is pret- 
ty heavy but still catchy due to pop chord progressions. They also have their fair share of quiet picked-out parts. 
For all those into obscure references, think of something like the CANDYLAND CAR CRASH. (PA) 

(Copter Crash, www.coptercrash.com) 

SANGRE DE LOS PUERCOS - “They Lie We Die” EP ” 

Sometimes raw blown out recordings work, and sometimes they don’t — this is an example of the later. 
SANGRE DE LOS PUERTOS play rough hardcore akin to early NEUROSIS (without the metal trappings) or 
CHRIST ON PARADE — but suffer from having a recording that lacks any power. It’s just ok — though if this had 
been a demo I would have thought it was pretty good — but it’s just lacking something. (MT) 

(Cries of Pain, PO Box 1004, Windsor, CT 06095, criesofpainrecs@hotmail.com)s 

SANITYS DAWN/FETUS EATERS - split CD 

Split release from these two wacko grind bands. Germany’s SANITYS DAWN start things off with 15 
tracks of AGATHOCLES-like insanity-induced pissed-off grind, with great vocals shouted in a hardcore manner. 
The singer of GROINCHURN also appears for a few tracks, but I’m not sure I noticed. Nothing that’ll change the 
earth’s gravitational pull here, but this is quality, catchy, pummeling grind from sincere hardcore folks who don’t 
take themselves too seriously. Then LA’s FETUS EATERS check in with 28 tracks of their own brand of silly self- 
described “Tardcore.” Song titles like “C’mon, Nobody Really Believes in God,” and “Granny Lactates Cottage 
Cheese” give you an idea of where they’re coming from. They keep the songs under a minute mostly and throw in 
odd bits like horns and samples to keep things interesting. Not terribly essential, but fairly entertaining nonethe- 
less. Worth it at least for the SANITYS DAWN stuff. (EL) 

(Regurgitated Semen, c/o Sandro Gessner, Str. des Friedens 45, 07819 Mittelpollnitz, GERMANY, 
skrupel@web.de) 

DIE SCHWARZEN SCHAFE - “Last Gang in Town” EP 

Here we have four tracks of anthemic Deutsch-punk from these Dtisseldorf punx. Pretty high quality 
stuff here, with a vocal delivery which sounds dead-on like Yankees Runs era SLIME. Melodic and catchy but with 
a rough edge — I adore this sorta of Germanic street punky style. The perfect soundtrack to having beers dumped 
on your head or for smashing coppers with your steel-toe caps. (MT) 

(Campary, Friedrichstr. 1 10, 40217 Dusseldorf, GERMANY, campary-rec@web.de) 

SCOTT BAIO ARMY/LINE OF DESCENT - split EP 

The bio sheet that came with this record was neither helpful nor necessary. I found it completely dis- 
gusting. SCOTT BAIO ARMY is described, in said bio, as being “perfect for fans of CHARLES BRONSON & 
WHAT HAPPENS NEXT?” They play moderately fast, slightly hectic, 80s-influenced hardcore, capturing a lit- 
tle of CB’s cynical approach to hardcore with songs like “Allah McBeal” and “Jesus Didn’t Get a Wheel”. These 
1 1 songs are really energetic, and actually pretty good when you put aside the 40 tons of bullshit the bio piles on... 
LINE OF DESCENT is perfect for fans of HIS HERO IS GONE, FROM ASHES RISE, TRAGEDY? Not 
exactly. They trudge through a handful of heavy tunes that have the same feel, but not the intensity or complexi- 
ty of said bands. I’m a little biased after losing 30 seconds of my life reading that fucking bio sheet. Unfortunately, 
these bands, while not spectacular, aren’t nearly as awful as I’d like to say they are... (VH) 

(Paco Garden, PO Box 18455, Denver, CO 80218-0455) 

SCUM ALLEGIANCE - “San Antonio HC” EP 

What a cool record! The plastic sleeve it came in is stenciled with the band name and record title. The song list- 
ings and band info is on a photocopied piece of paper glued to a generic, white 7” sleeve. This is DIY, fucker! 
This band, vocals included, sound like a young, excited CHEETAH CROME MOTHERFUCKERS. When the 
music speeds up, it sounds the same. Only faster. I love this record. This is Punk. No shit, that is the only real 
description. Punk. (JA) 

(RS, 3615 West Woodlawn, San Antonio, TX 78228) 

SENNEVAL - “Mi Padre el Hondero de la Pistola” EP 

Six songs of screaming, fast, rollin’ on the floor, kickin’ in the drum set, guitar-throwin’ hardcore. Well I 
can’t guarantee those last couple, but I’m taking a guess. Throaty screaming, fast drumming (with mosh parts of 
course) and hectic guitars. It’s pretty technical stuff, with lots of odd time changes and all. (PA) 

(City Boot, 575 O’ Farrell St. #504, San Francisco, CA 94102, http:/senneval. topcities.com) 

SHARK ATTACK “Feeding Frenzy Demo” EP 

Yo! This is hardcore, like weedpulling breakdowns, stomping, windmilling, and even circle pitting shit, 
kid. Sounds straight outta NYC circa 4 88 ...but it’s not, it’s current! No shit! If I was told this was some band that 
used to play CBGB’s in the late 80s with WARZONE, and CITIZENS ARREST, I’d believe it. Hell’s yeah — damn 
good shit. I’m all for the new bands playing the old sound, but just do it well — SHARK ATTACK does it well. 
(AS). 

(My War, 35 Kings Circle, Malvern, PA 19355, www.mywarrecords.com) 

SICK TERROR - “43 Segundos” EP 

Brasil’s SICK TERROR hits you like a piledriver, with manic energy and vocals that bring to mind a 
more hectic LOS CRUDOS. These guys have really nailed down a unique style, combining elements of Brazilian, 
American, and European hardcore to create these nine songs of unbelievably fast, raw, and intense hardcore that 
are by far the best they’ve done yet. They even do a SEEIN’ RED cover. I couldn’t ask for more. (VH) 

(A/C Fabio Do Valle, Box 155, Cep 09910-970, Diadema SP, Sao Paulo, BRASIL, www.sickterror.cjb.net) 



SKINJOBS - “Burn Your Rainbow” CD 

Now this is what I call a punk record!!! SKINJOBS are a trio of queer punks who don’t take any shit 
but seem to have fun with it. Taking on both the mainstream queer and straight societies, all while playing a style 
that reminds me of early COFFIN BREAK, SKINJOBS show why it’s so great to see so many queers in the 
scene. Not only that, but SKINJOBS might have the line of the year with, “He can be young and cocky or he can 
be old and stocky, as long as as his record collection keeps me a rockin’.” Buy, buy, buy (but in a supportive, not 
overly consumerist way). (JF) 

(Agitprop!, PO Box 748, Hanover, MA 02339) 

SLEETMUTE NIGHTMARE - “Whites” EP 

The band plays one or two “riffs” and yells/screams over them. Fast and complicated, but without a 
punch line. I need a reward for paying attention, dammit! (RW) 

(Fast Weapons, 120 State St., NE #300, Olympia, WA 98501) 

SLUM CITY - “Hot Beef Rejection” CD 

This band makes me feel sexy. I don’t know if I can take it. I wanna start dancing (nekkid) on the tables 
here at MRR, but that’s a good way to not get invited back (or Arwen would ask me to come over all the time) 
JOAN JETT is hot, and so are the LUNACHICKS. (MM) 

(Super Secret, PO Box 1585, Austin, TX 78767) 

THE SOCIALS - “Narrow-Minded Entertainment for a Close-Minded America” CD 

This band is really basic and raw, but not in that lo-fi garagy way. The SOCIALS are more just a prim- 
itive sounding punk band with female vocals that remind me a little of early BIKINI KILL mixed with X-RAY 
SPEX sans the horns. This isn’t bad, but the songwriting isn’t there enough to recommend as a must-buy. (JF) 
(SR c/o the Neus Subjex, PO Box 18051, Fairfield, OH 18051) 

SORE THROAT - “Death to Capitalist Thrashcore” LP 

Bootleg of this old-school British noise/hardcore/grind off-shoot of DOOM with a serious NAPALM 
DEATH inferiority complex. This rather curiously compiled boot comprises Side B of the Never Mind the 
Napalm, Here’s Sore Throat 12” (minus the last song) and almost all of the 101-song Disgrace to the Corpse of 
Sid LP. As for the music, the Never Mind... material is more traditional-sounding crust, but “Disgrace” is some 
insanely noisy seizure-inducing shit, with so many short bursts of manipulated noise, feedback, screaming, and 
blast beats. For diehard noise-grind completists worshiping all things ANAL CUNT and beyond, this is where it 
started, and for a band in the late 80s, they were fairly ahead of their time in terms of mixing MERZBOW-type 
noise and total blur grind. The hordes of noise-grind bands I regularly decimate in my reviews these days should 
worship the ground SORE THROAT pukes on. (EL) 

(no address) 

SORE THROAT - “Death to Capitalist Grindcore” LP 

SORE THROAT . ..ah, yes, that is a name I have not heard in a while. Back in the late 80s these guys 
were wrecking eardrums and speakers with an onslaught of pummeling stenchcore. Do you like listening to songs 
that are short, fast, noisy, and tuneless? How about deep guttural vocals spewing out songs like “Burn the Goths” 
and “Shit for Brains”? If so, then get a hold of this release, push aside your early NAPALM DE^TH records, 
put your earplugs in (especially if you are old like me), and let the mayhem unfold. (RC) 

(no address) 

SORE THROAT - “F.O.A.D ” LP 

A limited bootleg of the “legendary” SORE THROAT. This particular LP comprises studio material 
from 1989 on the A-side, and a live soundboard recording from 1990 on the B-side. The studio tracks are six long 
instrumental songs that were OK for what they were, but I wasn’t really impressed. The live material is a decent 
enough recording that is noisy and thick with distortion. My money was on the B-side. (WM) 

(no address) 

« 

SQUASH BOWELS - “Something Nice” EP 

Straight-up gurgling grindcore from these long-running Polish sickos. In classic Reek of Putrefaction- 
era. CARCASS form, the vocals sound like diarrhea splattering over the microphone. And yes, that’s a good thing. 
Good sound quality for these guys too. Nothing revolutionary, but very solid material for fans of gore-grind. (EL) 
(Obliteration, 3-41-16 Sumida, Sumida-ku, Tokyo 131, JAPAN) 

STAR SPANGLED BASTARDS - “For a Ride/Useless Information” 

You can always count on hearing something good when you see the Estrus logo stamped on the back of 
a record. These BASTARDS belt out two songs that cut to the shit and just plain rock. They sound like a VALEN- 
TINE KILLERS 45 on 33 ...and that’s not bad, cuz this is rock ‘n’ roll in its purest chemical form — fuzzy amps 
and distorted guitars. I imagine if I was walking around Tacoma some night I’d hear music like this thumping 
through the walls of some dive bar with a half burnt out neon Olympia sign.. I’d go in. have a beer, and be haonv 
(AS) 

(Estrus, PO Box 2125, Bellingham, WA 98227, www.estrus.com) 

STEEL RULES DIE - “Nostalgia for Beginners” CD 

First off, this seriously sounds like it should be on No Idea records. Why? Well, I’ll tell ya: these 
Englishmen play high-energy melodic hardcore with crunch-crunch guitars— like HOT WATER MUSIC or 
SMALL BROWN BIKE, with solos like SAMIAM, and wave-your-fist-in-the-air-and-sing-along-with-the-crowd 
call-and-responses, sorta like TEAR IT UP. Yes, SRD do all of this, and they do it well. I have a strong feeling 
this band’s going to get pretty popular with the young lads. Are you listening lads 0 You should be, because this 
is for you! (AS). 

(In At The Deep End, 82 Barlow Dr, Awsworth, Notts, NG16 2TD, ENGLAND, www.inthedeependrecords.com) 
STEVE CABALLERO - “Bandology Vol.l” CD 

Is the Tony Alva collection right around the corner? A “best of’ the bands well known skater Steve 
Caballero has played in. A few tracks from the FACTION, ODD MAN OUT, SHOVELHEAD, and SODA. 
Ranging from skate punk to pop punk with a little college rock mixed in at some point. I liked these records as 
they came out (me and Steve go way back dudes, much farther than we would like to remember) and they sound 
fine here. This is a good sample but I recommend going out and finding the complete CD’s and LP’s as well 
(RL) 

(Sessions) 



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STRIKE ANYWHERE - “Bread or Revolution” EP 

I must confess I’ve never paid too much attention to STRIKE ANYWHERE, but this isn’t quite what I remem- 
bered them sounding like. These two songs are fast, pissed, melodic hardcore, heavy on the harmonies, ringing guitars, 
and breakdowns. If you’re a fan of this band or this style, this is definitely something to snap up. (AM) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

STRIKNEIN D.C. - “Playing with Fire” 3xCD 

I can see some people really digging this ska punk band from Dublin, but it ain’t my cup o’ tea. Although 
they’ve been around for many years, I felt it was a bit unnecessary to actually release a three-CD set. A one-CD discog- 
raphy would have been plenty for my ears. (SR) 

(Rejected, PO Box 6591, Dun Laoghaire, Co. Dublin, IRELAND) 

STRUNG OUT - “Dig” EP 

Fucking STRUNG OUT. How dare you infiltrate my life again. Here’s the deal: Fat finally sends us copies of 
the EPs that came out as a part of their singles club, and out of all of the genuinely good bands (check the rest of the 
issue: STRIKE ANYWHERE, AMERICAN STEEL, RANDY, etc.) I get stuck with this tripe. Because they have 
been around for so long, I think I can safely blame STRUNG OUT for any slick, unoriginal, pseudo-emotional, skate 
rock crap that gets put out. This is slightly better than their rap-metal spattered full length from last year. Kind of like 
how one gunshot to the head would be slightly better than two. (MX) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com)s 

SUBSONICS - “A Lot to Forget” LP 

Hey, is LOU REED moonlighting in a lo-fi band from Georgia? I’m sure they’ve never heard that before. 
Disjointed, simplistic, melodic tunes provide the background for the lyrical wanderings on this LP. A bit more peppy 
than their other releases, it fits in nicely with the atmosphere at the temporarily empty MRR headquarters. (CK) 
(Slovenly, PO Box 204, Reno, NV 89504, subsonics@hotmail.com) 

SUGAR PIE KOKO - “Shoplifter” EP 

Why anybody would ever call their band SUGAR PIE KOKO is beyond me. Nonetheless, if your are into 
spastic screamo mixed in with straight-up thrash, then this may be your thing. Sometimes rawness and feedback are a 
good things to hear in a recording, but I found this to be a little too raw and sloppy. Mediocre at best. (RC) 

(Putrid Filth Conspiracy, Box 7092, South, 200 42 Malmo, SWEDEN, www.flyto/putridfilth) 

SUICIDE FILE - “Twilight” LP 

Holy shit, this record rules. I never thought the words post-hardcore rock would cross my lips in describing an 
album that I can’t stop listening to, but here I am at MRR writing to tell you just that. If SWIZ and AC/DC got into a 
fight, and the singer for NO REPLY stood over them to egg them on, this is what it would sound like. Dave’s lyrics 
are intelligent and well constructed, and are what make this record really stand out above the other bands attempting 
this style. Each song is completely relevant without sounding cliche. Song topics include everything from the white 
flight epidemic to George Bush. I know the year has just started, but I think we might just have a contestant for album 
of the year. (CC) 

(Indecision, PO Box 6052, Garden Grove, CA 92846) 

SWINGIN’ UTTERS - “Black Mountain Rain” EP 

I guess Fat Wreck Chords has started a singles club (ironically enough called the Fat Club) and they just send 
us an assload of them, each one more obnoxious than the other. I lucked out. The SWINGIN’ UTTERS deliver two 
country twang, gravel-voiced tunes that are nothing like the UTTERS I remember from my youth. Whatever — this 
sounds better. I feel sorry for the other reviewers who get the other Fat Club singles. Suckers. (BM) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

TARANTULADA - “What Young People Say” EP 

Wow. This band pounds almost exactly like the CANDY SNATCHERS. The only things missing are Larry’s 
distinctive voice and Matthew’s amazing guitar playing, or these guys could be a cover band. But what the fuck? There 
are a million worse bands to emulate so you might as well pick one of the best. Fast punk rock. It’s there and then it’s 
gone. It still sounds good. (CK) 

(Get Some!, 6201 15th Ave. NW, B#529, Seattle, WA 98107-2382) 

TEEN CTHULU - “Ride the Blade” LP 

From Seattle, Washington, teen heartthrobs TEEN CTHULU step up to the plate to deliver more than their 
fair share of audio-violence via their first full-length LP release, and I would have to say that it’s a definite doozy. 
Violent, violent hardcore with death metal styled keyboards driving the songs with their “opera gone bloody bad” sound 
and at other times providing a droning under-layer, giving their songs a spooky, not-all-is-quite-right vibe. With titles 
like “Wolfhunter,” “Ready the Guillotine,” and “Hillgiant Witch,” I’m sure you can ascertain that these guys are not your 
average political crust-thrash unit, instead preferring to revel in the bloody imagery that their cover art offers and their 
lyrics reinforce. Maybe I can start a trend by calling this style death violence, as to my ears TEEN CTHULU sounds 
like what DESPISE YOU and CRADLE OF FILTH would sound like if they were the same band (death metal x power 
violence = death violence). Ha! Anyway, methinks that this is a damn good record and for sure, the more adventurous 
of you out there would enjoy it as much as I do. (WM) 

(Life Is Abuse, PO Box 20524, Oakland, CA 94620, www.lifeisabuse.com) 

TENNESSEE BEATS - “A Place in Reno/Tell Tale Heart” 

First off, the TENNESSEE BEATS are from a place no where near Graceland, Dollyworld, or Nashville. In 
fact, they are from Norway. A land filled with hardcore and rock ‘n’ roll garage bands. These fellows fall into the lat- 
ter category. Yes sir, rock ‘n’ roll that played much like their neighboring Swedish predecessors the HELLACOPTERS 
with a couple guitar riffs that could’ve been taken directly from an ALL record. The result is polished and quite 
mediocre. Excuse me waiter, could I get more balls please? (AS) 

(Stiff Little, c/o Johan Forsberg, Hansteens Gt 7A, 0253 Oslo, NORWAY www.tennessebeats.com) 

TIME U.K. - “One More Time” CD 

This band featured Rick Buckler of the JAM fame and some UK pop guy Jimmy Edwards from a band 
unknown to me, MASTER SWITCH. These guys put out three singles following the breakup of the JAM. Very similar 
to later JAM Gift stuff as well as STYLE COUNCIL. We are talking early 80s here, people. Anyways, Bruce Foxton 
also of JAM fame came on board at the end with a release under the name of SHARP. A historical collection for the 
mod revival crowd and a good batch of songs as well. (RL) 

(Detour) 



TIP TOPPERS - “Packed to the Rafters” LP 

More Nordic wuss pop! Yeah, right on motherfucker. They got Morten from the YUM YUMS in their ranks 
and sound a lot like those Yummy motherfuckers. They got one of the dudes from GLUECIFER too. Jesus, this is a 
Nordic all-star band. 1 1 tunes, all cavity-inducing, hand-holding music. Makes me wanna be all shy and eoofv around 
girls again. (BM) 

(Sounds of Subterrania, PO 103662-34036, Kassel, GERMANY, www.soundsofsubterrania.com) 

TOTAL SOUND GROUP DIRECT ACTION COMMITTEE - “All Sounds Are Valid” EP 

BOOKER T & The MG’S meets POISON 13. Grovelly moaning vocals over organs, distortion, feedback, and 
bluesy guitars. There’s not much info on the sleeve but that has got to be Tim Kerr on vocals. This is punk rock soul — 
SAM & DAVE with leather jackets. This is brilliance. And I ask: “What are you doing to participate °”( AS) 

(Estrus, PO Box 2125, Bellingham, WA. 98227) 

TRESPAST - “Killed by Koncrete” EP 

This is a re-release of the highly sought hardcore EP from these Jersey blokes. They have plenty of sound bytes 
between their urgent, tight, crunchy songs. They splurged for the original red vinyl, but the new blue cover isn’t as 
appealing as the original yellow cover. A good record, well worth the repress. (HM) 

(Trespast, 881 Shadowbrook Rd, Ridgewood, NJ 07450) 

TROPIEZO/OPUS DEAD - split EP 

OPUS DEAD headbang their way through a couple of songs of crossover thrash. I think they thought they 
would be funny and put a jazzy number at the end. I think I missed the joke. TROPIEZO were more straightforward 
punk, with some thrash and occasional melody thrown in. Neither side did much for me, though I did like TROPIEZO 
more. (RC) 

(Where’s Your Anger, PO Box 471, Boston, MA 02134) 

TROPIEZO/OPUS DEAD - split CD 

I hate split CDs, I really do. At least with split vinyl, if you don’t like one of the bands you don’t have to 
ever play that side again— easy enough— but not with split CDs; there’s more work involved, not to mention the con- 
fusion that can arise when written track listings don’t agree with the CD track numbers— as with this CD. With that 
aside, TROPIEZO come from Puerto Rico at a good pace, playing hardcore with a late 80s crossover sound: metal- 
influenced riffs, including wanky little lead licks, played at hardcore speeds. Not bad. OPUS DEAD, from Madrid, 
Spain, pick up the second half of this short CD, sounding not that far off from TROPIEZO, except that their tempo is 
a little slower and the vocals are gruffer, older-sounding. Not bad either. I like their shout-along parts. Both bands sing 
in their native languages, which gives ‘em that great 80s international hardcore feel, like something you’d find on a 
BCT comp. (WM) 

(Discos de Hoy, Calle 4, c-5 Parque Montebello, Trujillo Alto, PR 00976, discosdehoy@yahoo.com) 

TUPAMAROS - “Beyond the Bias” CDEP 

Germany’s TUPAMAROS is good. This band plays sincere (from the heart) hardcore in the emo vein of 
early TEXAS IS THE REASON, with political lyrics and a bit of a harder-hitting DRIVE LIKE JEHU edge to it. Ten 
years ago I would have labeled this “emo-core,” but nowadays that phrase is so diluted and watered down by dogshit 
magazines like Spin that the very mention of it makes my head spin into a mental tirade: “blahhhhh, fucking main- 
stream infiltrators watering down and commodifying the world of punk rock that I loved so much.” Ugh, it’s depress- 
ing — so I won’t label it that. I’ll just label it good. (AS) 

(Scene Police, D.P. Merklinghaus, Humboldtstr. 15, 53115 Bonn, GERMANY, www.scenepolice.de) 

UNDEAD - “First, Worst, and Cursed” LP 

Not to be confused with the post-MISFITS UNDEAD, this is the SF combo from the late 70s. This band is 
mostly known for “Hitler’s Brain” on the second SF Underground comp EP. I remember these guys being more gutter 
punk than this LP. This LP is pure ghoul/horror punk from way back then. Good stuff though for being unreleased. The 
one thing I will always remember most about this band is when I saw the singer Sid Terror at the front of the stage at 
the first PUBLIC IMAGE show here and how he was a dead ringer for Sid Vicious. It was scary. (RL) 

(Dionysus, PO Box 1975, Burbank, CA 9 1507, www.the-undead.com) 

USE TO ABUSE - “Nothing Left to Lose” CD 

Decent punk ‘n’ roll with a heavy country twang. These honky-tonk boys are pretty entertaining and gave me 
a good laugh. (SR) 

(Hulk Rackorz, Eichendorffstrasse 1, 93051 Regensburg, GERMANY, hulk@punk.de) 

VANDALS - “Underground/Why Are you Alive” 

I never was big on these guys. Even the Stevo era was just okay for me. Maybe I can’t take funny punk in large 
doses, especially live. The A-side seems pretty Oi and the flip is melodic punk. If you like this band get this, if you 
don’t this won’t change your mind. (RL) 

(Fat Wreck Chords, PO Box 193690, San Francisco, CA 94119, www.fatwreck.com) 

VICTIM - “Everything” CD 

A collection from this Irish band from the late 70s. Although their punk song “The Teen Age” has made it 
onto some KBD- type comps, this band displays a more pop side here reminiscent of PROTEX and the ONLY ONES. 
This includes everything by the band. As a whole this is a great collection ranging from punk to pop. Twenty two tracks 
(including 15 unreleased) of strong tuneful second wave stuff. (RL) 

(Overground , PO Box 1NW Newcastle Upon Tyne, NE99 1NW ENGLAND) 

WAKING KILLS THE DREAM - “Depending on Tomorrow” CD 

Painful. Painful it was, making myself get through this whole CD. I will never understand why hairband- 
wearing Midwest straight edge kids want to hear this kind of horrendous tuneless singing in their metalcore. It’s like, 
dude, if you want to clap and sing, just cut to the chase and listen to regular pop music. Cuz this is a poor excuse for 
melody and a miserable hardcore record. But it’s got the singer from MORNING AGAIN (whoop-tee do), so I’m sure 
someone will make the mistake of buying this. (EL) 

(Good Life, PO Box 1 14, 8500 Kortrijk, BELGIUM, fire@goodliferecordings.com) 

WARSAW - “An Ideal for Killing” LP 

Formed as the STIFF KITTENS in 1976 Manchester, England after a local SEX PISTOLS show, WARSAW 
played dark, edgy, minimalist punk rock that mirrored the gloom of their surroundings in 1970s industrial Northern 
England. These are recordings made in between 1977 and 1979 comprising of demos, live material, and studio ses- 
sions. It starts off raw with the “Ideal Beginning” session and finishes with the Martin Hannett- produced Unknown 



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Pleasures LR In 1978 the band changed its name once again to JOY DIVISION and were on the brink of an 
American tour and world renown when singer Ian Curtis hung himself, ending JOY DIVISION and ushering 
in the birth of NEW ORDER. It’s twenty-five years since these songs were wrote and about twenty years since 
I first heard the band and I must say I like them more now than I ever did before. This record showcases the 
incredibly influential WARSAW/JOY DIVISION at their most stripped down, energetic and “punk” and is 
truly a must for anyone even reasonably interested in the roots of punk rock and alternative music. The fact 
that it is streets ahead and just downright better than anything around today is a bonus. (AD) 

(Galaor) 

WATCH IT BLEED - “Unleash the Fury” CD 

Five songs of heavy German metalcore action here. Decent, catchy mid-pace to fast stuff with fair- 
ly rough production — this is a direction like that found on the last SYSTRAL album, Black Smoker — that 
being more MOTORHEAD-styled rocking riffs — but things do pick up on some songs, like the title track, 
reaching quasi-blast speeds occasionally. This is competent enough, nothing overly objectionable, but not too 
special or noteworthy either. (EL) 

(Brutality & Bloodshed, c/o Benedikt Wagner, Hohenwaldeckstr. 12, 81541 Munchen, GERMANY, watchit- 
bleed@gmx.net) 

WIDESPREAD BLOODSHED - “Get It Into Your Head” EP 

This 16-song EP will take your fucking head off! Insanely fast hardcore that is just all over the place; 
tons of breaks, blazing drums, huge sounding recording with mounds of distortion. Pulls no punches, but it 
certainly seems like these Swedes are having a great time. Bonus points for the front cover, which features the 
all-too-common “skeleton on a skateboard,” but this time with a gun in one hand and a cop’s head in the other! 
If you like to thrash, then you need this record. Appears to have been released by the band, but their address 
is the same as Putrid Filth Conspiracy’s — hmmmm. (WN) 

(Box 7092, 200 42, Malmo, SWEDEN) 

WISEGUY - “Burning the Tracks” CD 

Rock V roll from Holland a la SUPERSUCKERS. Great guitar solos, but the vocals need more of a 
punch ‘cause they’re too whiny. With a bit of a more harder and tougher edge, these guys would be great. (SR) 
(Stardumb, PO Box 21 145, 300 AC Rotterdam, NETHERLANDS, stefan@stardumbrecords.com) 

WOLFBRIGADE - “Wolfpaek Years” 10” 

WOLFBRIGADE cruise through eight songs of dark bruising crustcore with tough growling vocals. 
This release looks sharp and comes in a nice gatefold package. Hell they even do an ASTA KASK cover. 
Definitely worth a listen. (RC) 

(Farwell c/o Micha Meyer, Heckenstr. 35 HH, 47058 Duisburg, GERMANY) 

THE WONTONS - “Hex Appeal” LP 

They’ve been around for a while: this is more snotty ‘77 style, with punchy melody, hooks, and get- 
away-from-me-girl lyrics. At their best they’re a little like the SAINTS, especially when the SAINTS cover 
old American rock ‘n’ roll jams. At their worst, a lukewarm BUZZCOCKS. Could be a pogoing good time live. 
(AC) 

(Bloody Banner, PO Box 49472, Austin, TX 78765, bloodbanrecords@hotmail.com) 

WORLD BURNS TO DEATH - “Spitting Acid in the Face of Human Rights”EP 

Fuck. It’s almost impossible to describe this in words. ...but imagine if you will having your face 
rubbed with sandpaper and then salt thrown on the wound. It’s abrasive and out of control — think SKITSYS- 
TEM meets WOLFPACK, but even more over the top. Thats just the music... wait till you read the lyrics!: 
“Blood will flow in rivers/bombs will cloud the skies/blood burns fucking black/all life fucking dies.” Fuck 
yes. (TB) 

(Fight, Hikivuorenkatu 17 D 36. 337 10 Tampere, FINLAND) 

WORN THIN - “Remnants of What Could Have Been” EP 

With faster songwriting and better production, this record is an overall improvement over their first 7” 
on Malfunction. I am hearing less of a VERBAL ASSAULT influence and (surprisingly) more of a RAIN ON 
THE PARADE influence. Before you call me crazy, listen specifically to “Here’s the Door,” and try telling 
me that doesn’t sound like a ROTP song. Side inquiry: In looking at both 7” covers (their first had a Morrissey 
picture and this one has a picture that was originally used on a SWING KIDS tour shirt) — I wonder if any of 
these members were originally from San Diego? Regardless, WORN THIN are much more focused on this 
release, and it shows. Chalk this up as another great Youngblood release. (CC) 

(Youngblood, 217 W. Main St, Ephrata, PA 17522) 

ZERO TOLERANCE TASK FORCE - “Punk Rockery” CD 

ZTTF’s simplistic, sloppy punk serves as a minor vehicle for the absurd diatribes of Rev Oralson. 
Brilliant themes and ideas are laid out simply and effortlessly. There’s no remorse, no compromise, and no 
way the government couldn’t accuse ZTTF of being a terrorist group. 28 amusing tunes in all. I believe! (HM) 
(Purple Hero Distro, www.zttf.com) 

V/A - “Anatomy of a...” EP 

Four band sampler of the latest craze in rock and roll, the Portland scene. ELECTRIC EYE are trashy 
garage rock. CAPTAIN VS. CREW are arty emo. TRIGGERS are punk rock. The HUNCHES are 70s 
STONES admirers. They even admit it. Their “In the Red” is so much better. A nice sampling of the good 
things to come. (CK) 

(Vinyl Warning, PO Box 2991, Portland, OR 97208-2991) 

V/A - “Deny the Report 3” CD 

I reviewed a later volume of this awesome series a few months back, so I was stoked to get a copy of 
an earlier release. Shingo Maeda (Too Circle Rees) really does an awesome job of putting these CD comps 
together. For people like me who are really into sort of this new school, quirky Japanese hardcore exhibited 
in bands like the FUTURES or EXCLAIM, this is an awesome way to get exposed to some awesome other 
bands in that same scene. Some of the better tracks on this volume: the FUTURES, FOODCHAIN, ONE 
RIVER, MAN FRIDAY, and INSANE ‘N THE BRAIN. Like I said, these comps are awesome, find ‘em if 
you can. (SP) 

(Too Circle, 3-29-18 Toycuama-minami, Nerima-ku, Tokyo #176-0014, JAPAN, toocir@xd5.so-net.ne.jp) 



V/A - “Deny the Report 4” CD 

When was the last time you picked up a compilation of Japanese hardcore that sucked? Well, this one is no 
different — ten great bands that runs the spectrum from basic hardcore to noisy chaos and even a little emo. Highlights 
include: UNLEASH, BREAKFAST, FOODCHAIN, ANMA (great RITES OF SPRING cover), HELLISH LIFE, 
WE MUST BURN — but really the whole damned thing is fucking awesome. Packaged as- a 7”, so keep that in mind 
when you’re flipping through your local distro. (WN) 

(Too Circle/Shingo Maeda, 3-29-18 Toyotama-minami, Nerima-ward, Tokyo 176-0014, JAPAN) 

V/A - “Menneskelig Stench Volum To” EP 

Alright, this comp, has three bands on it. VIIMEINEN KOLONNA from Finland who harken back to BGK in sound 
and vox treatment, if a tiny bit heavier. INSANE YOUTH A.D. are from Japan and yet still seem to have heard 
STRYCHNINE. The guitar slide on their track is one of the best I’ve heard. CONGA FURY claim to be from Japan. I 
don’t believe it. They have to be a creation of, a solidification, of a society fucks nightmare. What human could scream 
like that? I guess the music might be like VOID, but it’s not exactly music. More of vomitous anarchy. A monster punk 
band. I am in love. (JA) 

(Mike Geary, 12 Maple Lane, Harwich, MA 02645) 

V/A - “No Hold Back... All Attack!” 3xLP 

This is fucking rad — three twelve inch platters that serve as a sonic document to one of the finest, most 
diverse and united scenes in the country. Every bizarre sub-genre is represented on this compilation documenting the 
Twin Cities punk scene. Too many bands to list them all but stand outs that make this a must buy are DILLINGER 
FOUR, CALLOUSED, SWEET JAP, HOLDING ON, RIVETHEAD, SOVIETTES, STILLBORN, SUBVERSIVES, 
SCORNED, SCAMPS, MISERY and RED VENDETTA. This rules. Yes, please come and see what punx can do. 
(MT) 

(order from Havoc, PO Box 8585, Minneapolis, MN 55408, www.havocrex.com) 

V/A - “Polar Grinder” LP 

I got this record in a trade a few months back and it quickly became one of my absolute favorite comps — 
shit, favorite records period — ever. No one does grind as well as the Swedes, and this new comp features the absolute 
best of the current Swedish crop — from older, more established bands to killer newcomers. The cool thing about this 
comp, which I think serves as a much better introduction to bands, is that instead of one 30-second song from two 
dozen bands you’ll never distinguish between, you get two or three songs from each of nine different bands — this way, 
you get more of a sense of what they’re all about. They’re all really pretty great, but the stand-outs are NASUM (of 
course), the fucking jaw-dropping SAYYADINA (whom I raved about in my Year-end Top 10), Swedish grind legends 
REGURGITATE, and ASTERISK*, who throw some odd twists into their grind. The other bands are ASSEL, doing 
more hardcore-oriented stuff, SEWN SHUT, slower like a grindier MAN IS THE BASTARD, BIRDFLESH (members 
of NASUM), noise terrorists ARSEDESTROYER, and GADGET. I simply can’t recommend this highly enough — if 
you are even remotely interested in grindcore, get this record immediately. (EL) 

(Putrid Filth Conspiracy, Box 7092, S-200 42 Malmo, SWEDEN, putridfilth@bigfoot.com) 

V/A - “Rocked ‘n’ Loaded Vol. 2” 2xCD 

A friggin’ two-CD comp full of punk, surf, and rockabilly. Plenty of good bands and quality tunes. Included 
are over 50 bands from 10 countries! Bands like: DEMENTED ARE GO, the TEMPLARS, the FORGOTTEN, the 
HELLBILLYS, the HONKEYS, the AMAZOMBIES, the NEKROMANT1X, and DRAGSTRIP DEMONS. A qual- 
ity comp. (HM) 

(Rock ‘n’ Roll Purgatory, 341 S. Walnut St, Wooster, OH 44691, www.rocknrollpurgatory.com) 

V/A - “Super Sabado” LP 

This is a one-sided LP featuring a majority of the bands that played the recent Super Sabado Gigante fest here 
in the SF Bay Area. ARTIMUS PYLE, LACK OF INTEREST, GUYANA PUNCHLINE, CRUCIAL UNIT, BREAK- 
FAST, KUNG FU RICK. BURN YOUR BRIDGES, HOLIER THAN THOU, KYLESA, MUNICIPAL WASTE, and 
SHANK all contribute a new song, and each is a good’un, well worth your time. I was told that there were 1000 pressed 
but only half were sold at the shows (I tried to acquire a copy but it seemed that Ken had already left, taking all the 
records with him (?!)). I would suggest getting ahold of the three labels involved to try to secure a copy for yourself. 
I’m going to try. (WM) 

(625, Prank, Six Weeks) 

V/A - “Their Sympathetic Majesties Request: Vol. 2” 2xLP 

Wow. A compilation of songs that were all put out on Sympathy between ‘93 and ‘95. There really is some 
good shit on here; they needed a double LP. Songs by the HUMPERS, the MUFFS, REDD KROSS, NEW BOMB 
TURKS, the DWARVES, WRECKLESS ERIC, JET BOYS, GUN CLUB, the DEVIL DOGS and more. Fuckin’ A, 
that’s quite a line-up. (KK) 

(Sympathy for the Record Industry) 

V/A - “This is Toe Rag” LP 

An interesting assortment of tracks recorded at London’s legendary Toe Rag studio, largely more or less off- 
beat updates of easy listening styles (believe it or not) but has requisite rock content provided by the likes of the 
MASONICS, the SCOUNDRELLES (new band of the SCIENTISTS’ Tony Thewlis), and BILLY CHILDISH. (DD) 
(Sympathy) 

V/A - “World Wide Violence” EP 

12-band international grind comp with bands from Canada, Belgium, Germany, Japan, the Netherlands, Spain, 
Italy, Brazil, the US, France, and the Czech Republic. Individual band reviews could get a bit tiresome — suffice to say 
it’s better than average stuff, with noteworthy tracks from FUCK THE FACTS, BATHTUB SHITTER, MY MINDS 
MINE, DENAK, CATHETER, and NEEDFUL THINGS. This was apparently a collaborative effort between eight dif- 
ferent labels, too, mostly Italian. Clearly a lot of effort went into this thing, and it’s paid off. A worthy addition to your 
grind collection. (EL) 

(Za s, Marco Toumoud, Via Roma 59, 10056 Oulx (TO), ITALY, zasrec@libero.it) 




* 


♦ 


l 


1 



This month I loved doing this column. 
Gems, my friends, gems are out there, and if 
you’re bored by the mu§ic you listen to, it’s all 
your fault. One tiny rant though, and this is direct- 
ed to the lyricists. Starting with a disclaimer: I 
have as filthy a mouth as anyone but really, the 
songs that go "You stupid fucking bitch, you stu- 
pid fucking slut” etc. have got tp go. I mean, what 
the fuck? You got dumped by some really cool girl 
(and the songs are always about some girl — the 
songs about the boys don’t have to sink so low), 
and this is how you handle it? That’s no way to get 
the ladies on your side. Or maybe you’re just mad 
and have trouble expressing yourself... but rise 
above. It’s boring, and insulting. 

ADOLESCENT WASTE rock it! They 
mix up the punk and the thrash, keeping it dance- 
able, easy to grab the mic and sing along. The 
snotty pissed vocals shout and sneer. Total quality, 
old fast Texas style oozing with palpable energy, 
and a theme song. I love this band. ($2. 6 song 
cassette, although no song listings, and no lyrics 
included. 502 Lockhart Dr., Austin, TX 78704.) 

BIG BUBBA carry on in the tradition of 
homegrown Oregon hardcore, mean as hell and 
not backing down. They drank the same water as 
the young POISON IDEA, although it is a differ- 
ent world now. That must account for the differ- 
ences, which are they have less parts per song, and 
the vocals are more gruff and guttural screaming. 
Their slow parts groove. Plus, how can you not 
love a band that hates Eugene? (12 song CD, lyric 
sheet included. 30700 Lone Pine Dr., Junction 
City, OR 97448.) 

BILLY DIRT CULT makes a second 
appearance in the of demo column, with a live 
recording. They’ve still come from the dark side, 
but this time they’re sonically driving a bit more. 
The slow parts sound are paced like you’re walk- 
ing somewhere you really don’t want to go, and 
then the fast parts are like when you get there and 
punch out whoever you didn’t want to see. The 
guttural screaming vocals are a thick and chaotic 
mess that makes sense on top of the music, and 
blend really well for a live recording. Unusual, 
and good. ( 6 song CD, no lyric sheet. PO Box 
200072, Anchorage, AK 99520.) 

BLACK SHIT is fucking hilarious. They 
take a bunch of the songs that have been fucking 
pounded into my head at least through years of 
radio addiction — “Jailbreak,” “Crazy on You,” 
“Dancing Queen,” and a bunch of others, and 
make a ragin’ great medley of them. Awesome 
drumming dominates all these versions, the guitar 
is pretty quiet, and the vocals are kind of crooning 
and kind of crazy, reflecting on their originals, I’m 
sure. A perfect rainy season project. (23 songs 
make up two medleys on this cassette, no lyrics 
included. 3103 SE Stark, Portland, OR 97214.) 


CALL THE POLICE play on the mid- 
tempo, guitar-driven, rockin’ side of the punk rock 
scale, easily danceable but also easy to thrash 
around with your friends to, depending on which 
way you express yourself. Think of 80s hardcore 
before blazing speed and metal came to town. The 
vocals are a combination of well enunciated 
shouting and singing, like you could probably 
understand about half of her words without a lyric 
sheet. (10 song cassette, lyrics included. 4507 N. 
Gantenbein, Portland, OR 97217.) 

DEAD MISSION vary between the raging 
background and a catchier slower pace, but they 
change like first, the verse is tough, then the cho- 
rus is catchy, back to the verse (instead of the 
thrash part/ thrash part/mosh part/thrash part pat- 
tern). It’s a bit tougher than your standard emo, 
although they do throw in acoustic bits. The 
vocals are by the screaming, rolling-around-on- 
the-floor guy, and some other screamers who 
aren’t feeling it as much, and a regular singing 
guy who makes an appearance every once in a 
while. (10 song CD, lyrics included. 515 St. 
Thomas Ct., Fairfield, OH 45014.) 

DRUGS OF FAITH play a full dose of 
metal aggression, with quick changing parts and 
crunchy thick guitars, mostly fast-paced, and a 
vocalist who shouts more than screams. They slow 
it down about a third of the time, so you’ll be able 
to throw your neck out with some extended head 
banging. ($2 ppd. 2 song cassette, lyrics included. 
PMB #570, 21010 Southband St., Sterling, VA 
20165-7227.) 

I don’t understand why the audio zines are 
not in the zine review section (hint hint) but 
FULL GALLOP #9 is an audio archive/map of 
our scene and the places where you can pull up a 
beer and a porch and play music with your friends, 
Dan’s version. It’s all acoustic, or lets say 95% 
just to be safe, and it comes with a 56-page paper 
zine. Fuck yeah. ($3 ppd. 48 song cassette, no 
lyric sheet included, but a great zine. PO Box 
52096, New Orleans, LA 70152.) 

I think KRISPY PICKLES is the name of 
thematic comp., based on Tuscon, AZ bands from 
1992-2002 CHESTER AND THE MOLES- 
TERS is a soft and soothing music bed with feed- 
back vocals over it, inspiring nightmares. THE 
DEAD ALIVES have a great crooner and a eerie 
big guitar sound. Early rockaroll sounding, nice 
swaying beat. DIRTNAP picks up the pace to 
midtempo rocking, with deep-voiced singing. 
G.O.D. plays an “Amazing Grace” intro, and then 
busts into it fast-paced, while the vocals growl 
over the top. “Hey the police are here!” is an awe- 
some ending to any song. JANE DOE AND THE 
DECOMPOSERS play about half their song sort 
of loungy, then bust into a mid-tempo rocking 
garage style. Cool sort of strong and moany 


"vocals, too! JASON’S CAT DIED play the mid- 
paced emo, without the hardcore. LOS FED- 
ERALES are straightforward rockin’, with the 
appropriate sort of snotty vocals. IMBILICAL 
NOOSE has the BLATZ “sleep little one sleep” 
guitar noises, and then, after a short slow inter- 
lude, goes blasting into the thinner side of metal- 
lic hardcore with the “back from the dead” zom- 
bie vocals YELLOW BRICK ROADKILL has 
a mix of kind of English-sounding ranting vocals, 
with more of an emo full-out singing going on. 
Musically, they’re melodically guitar driven, with 
a kind of jerky pace, played around mid-tempo. 
ZERO TOLERANCE TASK FORCE plays 
straightforward simple punk rock, with a cool 
speaker vocalist ranting about his lucky day. I’m a 
sucker for a song with a punch line. It’s an inter- 
esting comp, although I wish they let you know 
who was still around, and who was circa ‘92. ($6 
ppd. 11 song CD, no lyrics included. Box 195- 
1678, Shattuck Ave., Berkeley, CA 94704.) 

SAINT CANNIBAS play a mellow ver- 
sion of stripped-down early New York scene 
rockaroll. Maybe it just seems mellower because 
the sound is clearer, but it’s not smooth or clean, 
just clear. Sometimes it almost seems pop punk- 
influenced, but not too often. The vocals just bare- 
ly cross the talking line into singing. (7 song CD, 
no lyric sheet. 206 Sherbrook Cr., Conroe, TX 
77385) 

SCREWBALLS play a mix of clean mod- 
em punk, like NOFX, but include a horn section. 
Not ska-sounding at all, though, even though they 
have the horns. The vocals are clearly, melodical- 
ly sung, and up front. This is also a CD-Rom, 
which I think means there’s more stuff on here if 
you’re listening on a computer, instead of a CD 
player. I’ll let you know when I catch up with that 
sort of technology. ($4 ppd. 3 song CD, lyrics 
included. Concordiastraat 66a, 9741 BH 

Groningen, Netherlands.) 

SGT. SLAUGHTER are a thrashy band, 
basic and catchy fast stuff that you sway to more 
than really move to, with a vocalist that has got a 
higher pitched shout than your standard totally 
fucking angry thrash attack band. Solid. (4 song 
cassette, lyrics included. 9 Colby St., N. Billerica, 
MA 01862.) 

SKITKIDZ is a great band, mixing up 
tough vocals with good rocking basic punk that 
moves you, or at least me. Then the other half of 
the tirhe they thrash it up, with all the metal guitar 
leads you could ever want in a song. This will 
move you, still, but in a totally different way. I am 
always excited to find a band that is good at more 
than the one song they play over and over, and, in 
that realm, this is gold. (11 song cassette, lyrics 
included. St. Petrikyrkog. 10, 22221 Lund, 
Sweden.) 




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Autoritar vs. Coma split Ep 
To What End? "And The History.." Ep 
Unkind "Mieliemme Tuhkasta" CD 
Bombstrike "Kaos och diavulskap" CD 
Diallo "Diagram Of A Scam" tp 
Crossing Chaos Ep 

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This release features 2 piping hot combos from Britain, Parasites 
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THE PARASITES / 7’ MONSTER - RETCH FILES 

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Also available English Dogs - This is Not a War CD (unofficial anthology) 

APA - March of the Piss Artists CD 

Blitzkrieg/Paradox UK - Retch Files Vol II CD 

The Varukers - Retch Files Volume 1 (classic 80s UK punk) 

Sanity Assassins - Live in NY 7” EP Juice - Fundamental 12” 

English Dogs - I’ve Got a Gun CD, Back in stock! Airbomb - Lookout CD 
Cult Maniax - Live at Adam & Eves CD 


No Good Turn Goes Unpunished - V/A CD featuring Blitz, Blitzkrieg et 
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English Dogs - What a Wonderful Feeling CD EP 
Revenge of the Killer Crash Helmets V/A CD 
Paradox UK - Disenchanted Land 4 track 12” EP 
Sanity Assassins/White Pigs Dead Mans Hand CD 
For a Few Crash Helmets More Comp CD, Varukers and more .... 

Post paid prices: CD £6.50/$12/E14, CD EP £3.50/$5/E7, 12” £3.00/$5/E7, 7” £1.50/$3/E5 
E indicates Euros! All cheques payable to Retch Records £ UK, E Europe, $ World 


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Retch Records, 49 Rose Crescent 
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ZINES 

Reviews by: (AC) Arwen Curry, (AR) Aragorn, (JB) Julia Booze, (CB) Chanel Bowman, (BD) Ben Ditch, (MD) Mikel 
Delgado, (SD) Sara Double-Ears, (KE) Kara Electric, (JH) Jeff Heermann, (HH) Harald Hartmann, (CJ) Chloe 
Jensen, (JM) Jeff Mason, (JL) Jennifer L. Mushnick, (MN) Mimi Nguyen, (CR) Casey Ress, (MT) Mike Thorn, (GZ) 
Gordon Zola. 

Please send your zine in for review. Write down any information you want included in the review; method of printing, 
number of pages, issue number and post paid price. If you want us to include a foreign post paid price, tell us. If you 
accept trades, tell us. The only information we will include is what you provide us. 



ABORT! #11 / $1 

5.5 x 8.5 - copied - 32 pgs 
There are a few disposable interviews 
in this issue (although the name 
“robot has werewolf hands” is oh-so- 
promising) and some fairly well-writ- 
ten but poorly conceived editorials. 
The idea that any punk can think 
highly of Michael Albert both repulses 
and horrifies me. (AR) 

40 Adelphi St #3 / Brooklyn, NY 
11205 


AMERICA# 10/ $1 

5.5 x 4.25 - copied - 16 pgs 
I find it difficult to describe the 
contents of this zine. It is that 
gentle blending of the personal 
and the political that is not so 
uncommon in zines (particularly 
those from Portland and 
Gainesville, for some reason). 
There are themes of depression 
and hope, traveling and home. 

It’s a short zine that feels some- 
what unfinished, but in a way 
that makes you feel satisfied 
with the bite you got. In this 
issue is a list that I suppose 
serves to encapsulate the mis- 
sion or definition of the zine and 
the writer’s purpose — instead I 
found it a little high-handed. If it 
serves as a description rather 
than a prescription then it’s 
great, but maybe it’s just what’s 
going on in me that made me 
feel a bit put off by it’s tone. 
Regardless, this is a zine that 
one can enjoy and not feel bored 
or irked by. (CR) 

PO Box 13077 / Gainesville, FL 
32604-1077 

BARRICADA January 2003 / $2 

8.5 x 11 - printed - 20 pgs 

This issue of this monthly (platformist) 
anarchist magazine out of Boston is 
mostly news and commentary about 
radical events around the globe. This 


issue focuses on Argentina, the Anti- 
War Movement, the June 15 
Defendants (OCAP Ontario coalition 
against poverty), etc. The only 
lengthy editorial is called “The Liberal 
Attack on the Anti-war Movement," 
with the same theme. The conclusion 
to the piece (a rather tame piece, talk- 
ing about the details of what is nec- 
essary for building an anti-war move- 
ment) is “Only when the state feels 


threatened by an angry mass move- 
ment from below will it think of pulling 
back.” If such sentiments agree with 
you, then Barricada is for you. (AR) 
PO Box 73 / Boston, MA 021 33 

BOYFUNK #1 / $2 / trades / free to 
prisoners 

8.5 x 11 - copied - 22 pgs 

“100% Queer” zine for queer men. 


Includes the boyfunk manifesto, poet- 
ry, and interesting reflections at a 
funeral, but mostly consists of calls 
for revolutionary queers to fight back 
against mainstream society and 
mainstream gays, who would kill or 
ignore deviants and dissidents. Of 
note to MRR readers is the “Fuck 
Punk Rock (Or an Open Letter to 
Punkers),” article. Except for the 
clever line “You adhere to an atro- 
cious personal aesthetic in order 
to demonstrate your individuali- 
ty” and his warning to punks to 
“Stop .letting (. . .) MRR (. . .) or 
whatever run your fuckin’ life!” 
(which I basically agree with 
because, let’s be honest, that 
would just be sad) this bit of boil- 
erplate rebellion is what made 
me realize that the “angry queer” 
zine is its own genre at this point 
that needs an obligatory “punk is 
not revolutionary!” article that 
can be delivered either with a 
“wow!” or a page full of bitter- 
ness. The editor also shows that 
he hasn’t completely purged his 
sectarian left background with 
the sentence, “The punk rock 
lifestyle is a reactionary 
response to the ills of capitalist 
society.” (My ex-RWL friends 
told me to ask, did Shanta tell 
you to write that?) Not a bad 
zine, but one that needs to 
develop more of its own voice. 
(GZ) 

Donald Linger, Jr / 12 Edward St 
/ Binghamton, NY 13901 
boy_on_boy_love@yahoo.com 

BRAINSCAN #19/ $2 
5 x 6.75 - copied - 65 pgs 
Subtitled “Typewriters.” Brainscan 
editor ’Alex Wrekk is associated with 
other projects, including distro 
Microcosm Publishing, Reading 
Frenzy (Portland’s zine/infoshop), 
and the annual Portland Zine 



I 


Symposium. This issue is the second 
or third I’ve seen, all varied in length 
and dimensions. This issue is an 
attractive one, not too gimmicky in the 
shape or the binding. #19 recaps and 
discusses this year’s zine sympo- 
sium, interspersed with Alex’s reflec- 
tions on what it means to be a 
“zinester,” relationships between 
zinesters, etc. Her style is literal: 
there are few extrapolations and 
never does it delve into challenging 
territory. For those in search of a net- 
working resource or a sincere pen 
pal, however, this could be a valuable 
item. (AC) 

Brainscan / PO Box 1 4332 
Portland, OR 97293 
brainscanzine@ureach.com 

CHERRYBOMB Summer 2002 / $5 

8.5 x 11 - copied - 59 pgs 
Grrl zine with an ambitious, large- 
scale format, though the content 
might fit better in a smaller frame. The 
editorial staff is badly in need of a 
graphics person (pixelization: so 
painful to look at, so easily fixed) but 
this made for an interesting read 
nonetheless. I enjoyed the interviews 
with “everyday heroines,” particularly 
inner city dance instructor Pepper, 
and found the article on the lesbian 
folk scene thought-provoking. 
Overpriced, yes, but a good read for a 
waiting room. (AC) 
sabrina@cherrybombzine.com 

CHUMPIRE #157 / stamp or trade 
3 x 8.5 - copied - 8 pgs 
How does a great one-page zine 
become a great eight-page zine? By 
cutting it into smaller pieces. It’s been 
so long since I’ve read Chumpire, that 
I kind of forgot what it was about. You 
probably know its format by now, 
though. This issue contains thoughts 
on Michael Moore’s film Bowling for 
Columbine, “party bands,” the death 
of Joe Strummer, and whatever other 
quick little nuggets he puts down. It’s 
always good, and this is no excep- 
tion. (CR) 

PO Box 27 / Annville, PA 17003-0027 
chumpire @ hotmail.com 

THE CIA MAKES SCIENCE 
FICTION UNEXCITING #1 / $1 and 1 

stamp 

5 x 6.5 - printed - 24 pgs 
First off, this is a beautifully illustrated 
and produced zine. A little bigger than 
a Chick tract, and printed on 
newsprint, the color and design just 
made me want to read it. The CIA 


Makes... questions the official line on 
the assassination of Rev. Martin 
Luther King Jr. and attempts to 
amass evidence, or at least ques- 
tions, about CIA and FBI involvement 
in his killing. 

The author 
retells the 
events of that 
day and has 
definitely read 
some hard-to- 
find books on 
the subject. I’m 
wary of con- 
spiracy theory, 
myself. As a 
genre, it uses 
every bit of 
non-evidence 
as evidence of 
plotting and 
wrong-doing, 
and can make 
people dis- 
cussing it in public look silly (of course 
that’s what they want you to say!) But 
I still liked this well-written zine a lot. 
Get it. Read it. But use it as a starting 
place, not an arrival. Which, come to 
think of it, is basically what the author 
himself wrote. (GZ) 

Microcosm Publishing 



PO Box 14332 / Portland, OR 97293 
www.microcosmpublishing.com 


CLUTCH #9 / $1 

4.5 x 5.5 - copied - 36 pgs 
Greig’s autobiographical daily comics 


are drawn with clean thin lines. I find 
the act of doing a daily comic 
engrossing. There is nothing really 
groundbreaking in here, just a win- 
dow into someone else’s life; like a 
cartoon version of a day 
planner. Much like the 
zine Snakepit (check out 
the split zine that Ben 
and Greig did) the mun- 
dane activities of a cou- 
ple of guys is turned into 
a fascinating insight into 
your own life: what do I 
do everyday? Clutch #9 
spans the month of May 
2002. Greig feels sick a 
lot, watches movies, and 
hangs out with friends. 
(SD) 

Clutch / PO Box 12409 / 
Portland, OR 97212 

CYNICAL SOLUTION 

#1 / $1 

5.5 x 8.5 - copied - 30 pgs 
This zine had a separate pictorial mini 
zine of someone’s trip to Holidays In 
the Sun taped on the cover. There 
were the basic punk rock band inter- 
views, with the Casualties and GBH. 
The best part of this zine was a com- 
pilation of people’s punk rock memo- 
ries and quotes throughout the years. 
There are a bunch of hilarious stories 
that make you want to punch people 
in the face. (KE) 

c/o Elya / 87 Thwaite Ave / Toronto, 
ON / M3L 2C8 Canada 
elya @ whatthefuck.com 

DIE TRYING #2 
OTHER PEOPLE’S PHO- 
TOGRAPHS #2 / ? 

5.5 x 8.5 - copied - 20 pgs 
These two zines are the result of 
working in a one hour photo — it’s a 
collection of random stolen photos 
with some commentary on each. 
There are a lot of great photos in 
here. The anonymity of it and the 
possible stories behind each are fas- 
cinating. My old roommate worked as 
a photo developer, and would come 
home with some wild and weird 
stuff — this reminded me of those 
days. The neat thing is realizing that 
there are many uncelebrated “artists” 
out there, and that we all have stories 
we’d like to tell, even if we never 
intended the general public to see our 
photos. I’d send a buck or two, no 
price was listed. (MD) 

PO Box 948 / Athens, GA 
30603-0948 





DIE TRYING #3 / $1? 

5.5 x 8.5 - copied - 20 pgs 

The bulk of this issue is a rather long 



article detailing getting screwed by a 
property management company. 
Frankly, it didn’t get me riled up, given 
the shit that happens in the rental 
market in SF — if you sign a three- 
month lease, don’t be surprised if 
at the end of three months, your 
rent is increased (the main com- 
plaint in the story). Yeah, it sucks, 
but that’s life. The rest of this is a 
nice tribute to Merle Haggard and 
a review of the movie Signs. 
Overall, I’d say, skip this one. (MD) 

PO Box 948 / Athens, GA 
30603-0948 

DISORDERLY CONDUCT #6 / $3 

5.5x 8.5 - copied - about 100 pgs 
(numbering them is counter-revo- 
lutionary) 

Green insurrectionary anarchist 
journal from Eugene. The more I 
read anarcho-anti-civilization zines 
the more they just depress me. 
Here are some quotes: “(what 
unites us is) our hatred of all 
domesticating and dominating 
powers and our desire to be wild 
human-animals once again.” “We 
believe anarchy to be our natural 
condition.” “Domestication creates 
a totalitarian relation with plants 
and animals, and eventually other 
humans.” I just don’t think nature 
works like that. Sorry folks, there is 
no natural state to return to (how 
many thousands of years later?) 
There is a certain ideology these folks 


believe in — and try to convince other 
of — that they try to justify by proclaim- 
ing its purity and naturalness, but I’m 
not buying. I guess I’m just predis- 
posed to be skeptical of revolutionar- 
ies organizing under those banners. 
Oh yeah: this zine is really thick, 
there’s lots of stuff including prisoner 
support info and news on the most 
recent bash and trashes throughout 
the world. (GZ) 

PO Box 11331 / Eugene, OR 97440 

E. 2ND AVE. HOUSE ZINE #2 / 2 

stamps / trade 

4.25 x 5.25 - copied - 46 pgs 
First of all, come on, kids, you can 
come up with a better name for your 
zine than that! It just doesn’t roll off 
the tongue. The contents are the col- 
lective writings of a a 12-punk punk 
house — wow — I’ve never lived in one 
that big, myself, unless you count 
MRR... The voices strike me as 
belonging mostly to folks in their early 
20s, a relatively carefree circle of 
friends who seem mutually supportive 
to each other and welcoming to the 
outside punks. The exceptions are 
writings from a couple in the house, 
who both voice their confusion and 
misgivings about a recent abortion. 


band scene, where you are (say the 
editors) invited to come hang out on 
the porch. (AC) 

2755 E 22nd Ave / Vancouver, BC 
V5M 1E2 / Canada 

THE EAST VILLAGE INKY #18 / $2 

5.5 x 4.25 - copied - 40 pgs 

By now I’m sure you know the story of 
The East Village Inky; part comic, part 
zine, and all parenthood. This issue 
contains vignettes about snow, the 
theater, crummy flats, kiddy recipes, 
and a few pages of vintage Inky. It’s 
impressive that after so long Ayun’s 
somehow avoided turning her zine 
into a gen-ex Family Circus, but to be 
sure, this is a zine that will be most 
enjoyed by parents, people who love 
kids, and those who like to see that 
just cause you’ve got two lil’ ones, 
you don’t have to become what your 
parents were. My only hope is that 
Inky will refrain from writing angry let- 
ters if the next reviewer doesn’t like 
the zine as much as I did. (CR) 

PO Box 22754 / Brooklyn, NY 11202 
inky@erols.com 

EQUALIZING DISTORT #2, #8, #10 / 

no price listed 

8.5 x 11 - copied - 12 pgs 
A paper extension of the Toronto 
radio program with the same 
name, EQ has interviews, reviews, 
ads, show listings, and a small 
“rumourmiH" section. EQ DJ 
Stephe Perry has had a number of 
great interviews printed in MRR, 
and the ones in these issues 
(R.A.M.B.O. and Robot Has 
Werewolf Hand) are of the same 
high standard. The reviews focus 
on worldwide hardcore (thrash, et 
al), and the show listings include 
kung fu movies and such. Some 
information about the radio station 
is also included. Being a fan of the 
genre covered, I enjoyed these 
quite a bit. (JM) 

35 Raglan Ave, Unit #204 
Toronto, ON / M6C 2K7 / Canada 

EXTRAZINE #6 / free in Spain 

6.5 x 11.5 - printed - 24 pgs - 
Spanish 

Send them some postage for a 
copy abroad: $2 is probably ade- 
quate. There’s not much to this: an 
article on Russ Meyer for those of 
you .with that particular obsession, 
an article on the Dead Kennedys, 
and interviews with the 
(International) Noise Conspiracy and 
tropical Punk Records. Fancy graph- 



Other than that, it’s a little window on 
the Vancouver dumpster/bike/house 



ics, cool cover. (AC) 

PO Box 152 / Daimiel 13250 / Ciudad 

Real / Spain 

extrazine@terra.es 

FATHER’S DAY #1 / $1 

8.5 x 5.5 - copied - 16 pgs 
It’s difficult to really call this a zine. By 
no means does it fall into the stan- 
dard format of interviews, punk rock 
writing, or reviews. That, though, may 
be where it succeeds, while so many 
others bore the ever-loving crap out 
of me. Father’s Day is the story of the 
fractured relationship between the 
author and his dad, and how that rela- 
tionship has been marked and 
strained by a heart attack. It is touch- 
ing without being forced. It’s a quick 
read and pretty great. (CR) 

PO Box 948 / Athens, GA 
30603-0948 


miSHAP n 14 V 0L. I 



r«ai£>K : A X43NKS XNTAOO’O'CTXOM ABOUT VHtMX 
I'M CDMUK* IMCKL, X *#»;**, 

9/11 : ”*V1R»irT«rNO HA8 CHANOBD" . 
COWS, LOVK LOSS MV ‘i'HJ* VKT , 
GUtWXHV OUlWt, RACK CXMMWXXX, 
1>«©I>LS YOU AND M0R8 . 


THE HIDDEN AGENDA #1 / $1 

8.5 x 5.5 - copied - 32 pgs 

I never want to have to read about 
Burning Man again. And what is up 
with people who refute religious 
whackos by shouting from the Bible? 
The intent of this hodgepodge journal 
is to have a place to talk about what 
the media ignores, to have a voice 
that the editor has control over. And 
while it has that voice, the content 
falls short. Along with confusing book 
reviews and an interview with a 
Phoenix author, there are CD reviews 
and decent collage art. (SD) 

1019 N Central Ave / Phoenix, AZ 
85004 

HIPPIE VOMIT #2 / $1 or 3 stamps or 
trade or weed 

4.5 x 5.5 - copied - 32 pgs 

Don’t be fooled by the title. H V is a 
breath of fresh air, because it is 
charming, funny, and introspective. 
The front cover is this amazing draw- 
ing of falling sheep, while the back 
shows some kids and a dog hanging 
out in the snow. One section, 
excerpts from “Unfinished- Untitled” 
shows the. dreamy recollections of a 
childhood moment, contrasted with a 
manic awakening. A part that talks 
about the author’s mom having 
Chronic fatigue comes off innocent 
but thought-out, and affected me 
enough to stop and think. For your 
eyes there are pictures from around 
Europe and some fun with masks. 
The best story involves a near-fatal 
baseball game attendance and some 
thoughts about how getting fucked up 
is the one thing that unites young 
people. See if you agree. (JB) 

271 Holmes St / Halifax, MA 02338 

I HATE THIS PART OF TEXAS / #4 / 

$1 

5.5 x 8.5 - copied - 26 pgs 

I really liked the layout of this zine, 
which is somewhat artsy. The editors 
claim that their typewriter sings and 
tells stories, and that they listen and 
dance. There is a big section called 
“Plan B,” which is a New Orleans 
Community Bike Project. It sounds 
really awesome: recycled art projects, 
bike shops, shows, etc... The rest of 
this zine is the writer’s thoughts and 
analysis on life. I didn’t really under- 
stand a lot of it, nor did it make me 
want to read on. Look up Plan B 
sometime though. 

PO Box 72581 / New Orleans, LA 
70172 


INTERNAL PAPERCUTS #4 / free 
5.5 x 8 - copied - 12 pgs 
This zine contains exactly four sen- 
tences, the introduction. It’s basically 
a picture zine of this kid from San 
Francisco’s year-long adventures at 
Bay Area shows. Bands such as 
Panty Raid, Sacrilcious, and 
Scholastic Deth are pictured here 
several times, just to mention a few. 
It’s somewhat hard to describe 
because there are 50 pictures or so. If 
you live in the Bay Area, or want to 
see what the Bay Area scene’s bands 
look like, this would be a good zine to 
pick up. I was really excited to see 
most of my friends captured in a little 
box, black and white, in a zine. (KE) 
internalpapercuts@yahoo.com 



KIN SELECTION #1 / $2 

5.5 x 8.5 - copied - 44 pgs 
Bad in inception, bad in implementa- 
tion. The premise of this is that the 
author started to look for love in the 
context of personal ads and wanted 
to share the stories. Insights like “I 
had a hard time keeping my mind 
focused on 20th century history and 
off of her dainty little china flats” and 
“For my part, people who talk too 
much are fucking annoying, and not 
knowing what she was about was 
probably a bit of a positive.” The only 
cute thing about the entire effort is 
that all human names are replaced by 
biological terms; like Latin names of 
frogs and owls. (AR) 

502 S 49th St / Philadelphia, PA 
19143 

THE MATCH #99 / free subscriptions 
(donations accepted) 

6 x 9.5 - printed - 76 pgs 

Well, I just reviewed #98 a couple of 

issues ago and I don’t have much to 


FERTILE GROUND #1 / $2 

8.5 x 5.5 - copied - 28 pgs 
People have kids. Then people want 
to tell you all about their kids. So then 
people do a zine about their kids. 
Parenting tips with a hippie slant that 
includes funny illustrations to accom- 
pany anecdotes about poop, food, 
and health. The homebirth story could 
have been shorter, and the corporate 
sponsored interior decorating tips left 
me bored and glad I don’t have to 
worry about choosing frog prince 
bumpers for a crib anytime soon. 
(SD) 

Fertile Ground / 2084 Court Ave 
Memphis, TN 38104 



add to that review, because The 
Match is noth- 
ing if not con- 
sistent. You 
might expect 
that from a 
publication 
that’s been 
going strong 
for 30 years 
and is con- 
cerned with 
freedom and 
“ethical anar- 
chism,” but 
with so many 
political and 
anarchist 
zines out there 
that are isolat- 
ed or unread- 
able (through 
layout or word choice: it amounts to 
the same thing), I feel the need to 
point it out. Regular features on tech- 
nology and computers, “Who the 
Police Beat,” and lost freedom 
throughout the world. This issge has 
articles on the history of the ISBN 
code, history of the circle-A anarchist 
symbol, and battles of a person trying 
to pay for emergency medical care. 
Huge letters section takes up nearly 
50% of the issue. (GZ) 

PO Box 3012 / Tucson, AZ 85702 

MISHAP #14 Vol. 1 / free / trade / 
donations accepted for prisoner sup- 
port 

4.5 x 5.5 - copied - 36 pgs 
Fun-pack! If you order #14 it comes 
with volume 1 & 2 and 2.5 (the 
stepchild)! Volume 1 has some seri- 
ous portions to go with all the fun. 
Namely, an account of the process of 
cow branding (reminders that even 
family farms have to keep track of 
everything in a cruel way) as well as 
the really saddening story about vets 
who take advantage of people that 
love their pets. There is still some 
funny ass shit in here, like the article 
“We Are All Going To Die, Experts 
Warn.” The introduction is the most 
thoughtful: the editor muses about 
war and our pacified reactions to it, in 
a way that got to me. (JB) 

PO Box 5841 / Eugene, OR 97405 

THE NEUS SUBJEX #48 and #49 / 

free? 

8.5 x 11 - copied - 1 pg each 
These two issues of The Neus Subjex 
are almost entirely composed of 
record reviews and local band news. 


I’ve never heard of most of the bands, 
but reading the impas- 
sioned reviews was a 
pretty intense experience 
nonetheless — maybe if 
more kids reviewed 
records with the same fer- 
vor that Shawn Abnoxious 
does, I wouldn’t hate 
reading record reviews so 
much. These zines also 
came with the tiny 
Attacking The Nucleus #3, 
the print version of the 
Socials’ email newsletter. 
It has band news and a 
story about spraypainting 
raccoons pink. Urn... right. 
(CJ) 

PO Box 18051 / Fairfield, 
OH 45018 

PORTLAND RADICAL HISTORY 
BIKE TOUR $5 

cassette and zine - 5.5 x 8.5 - printed 
- 16 pgs 

A very impressive project indeed; a 
rarity both in its format and in the 
depth and accuracy of its research. 
On the cassette, we hear directions to 
sites of interest to the radical scholar 
in Portland. At each location, editor 
Kim Fern describes the site and dis- 
cusses its significance with a familiar- 
ity and ease that 
betray hours of 
long research 
and a genuine, 
contagious fasci- 
nation with the 
material. The 
tape is recorded 
live, an edit of 
two tours con- 
ducted in the 
summer of 2002. 

Unfortunately, 

Kim has to lec- 
ture at a near- 
shout to carry 
over the crowd of 
punk scholars on 
bikes, but this 
seems like a 
small price to pay for the feeling of a 
live show. Her intent in this project 
was to breathe life into radical history, 
which many of us in the punk/activist 
world use as a frame of reference. 
She succeeds stunningly: the lives 
and times of radicals from 1910 
through he 60s are resurrected in 
three dimensions on the recording, 
with the assistance of an added refer- 
ence zine with brief descriptions of 


each site. This is one of those proj- 
ects that is exceptional precisely 
because it is so obviously the simple, 
right sort of thing to do. It’s a cue for 
the rest of us, certainly. I estimated 
the cost: all proceeds go to North 
Portland BikeWorks, a community 
based, non-profit bike shop. (AC) 

3951 N Mississippi Ave, Portland, OR 
97227 

www.npdxbikeworks.org 

QUICKDUMMIES #15 / $3 or trade 

8.5 x 11 - printed - 96 pgs 
Sojne zines are totally dull because 
the editors are too. Quickdummies 
certainly doesn’t have this problem. 
The editor, Robb, travels all over but 
is always broke and starving and 
sleeping outdoors, but he mentions 
these things only in passing. He con- 
tributes a long column in a stream-of- 
consciousness style, and he discuss- 
es the Underground Press 
Conference and the vote to raise the 
minimum wage in New Orleans (it 
passed but was struck down by the 
courts) among other subjects. Robb’s 
grammar, spelling, sentence struc- 
ture, and comprehensibility are much 
improved from last issue, which read 
like fucking James Joyce, but still 
sometimes it is rough going. He 
spends two and a half days at a gas 
station, “awake the whole 
time,” with all the free 
coffee he could drink. He 
claims “I can't read or 
write” and “The Boss 
(Bruce Springsteen) — 
you got to love him” and 
advises Quickdummies 
readers who are single 
and over thirty to consid- 
er adopting “at. least one 
kid around ten years old.” 
There are a few other 
columns, reviews but 
hardly any ads. The rest 
of this huge zine is given 
over to two long arti- 
cles — one on primate 
experimentation and 
another by a guy who’s 
made many flyers for New Orleans 
shows over the years, with the flyers 
reprinted — and interviews with 
Clamor magazine, Against Me, Dead 
Alive Records, Vitamin X, and 
Defiance. I would not invest $3 in this, 
but I am fascinated by it and read it 
when I find one around. (JM) 

6810 Bellaire Dr / New Orleans, NO 
70124 



MNST Me.- - Vi » AMIN X - DLAD * 

AUV£ RECORDS - DEFIANCE - CLAMOR i § 

MAGAZINE. - FAIRMONT - ALSO COMES j jjfifpjf * 

with a sampler cd with a paid i BRR & 
fanzine - irrrm;* 



RAZORCAKE #12/ $3 

8.5 x 11 - printed - 104 pgs. 

I’m late to the game— and haven’t 
cracked an ish of Razorcake since its 
inception some 30-odd issues ago. 
Here’s the back of my hand: I won’t 
flinch when you smack it with a ruler. 
The obvious and easy comparison (to 
me, at least) is to venerated LA insti- 
tution FlipSide in its prime — glossy, 
two-color cover, thick newsprint interi- 
or jammed with content. From what 
I’m reading the mag has a healthy 
respect for Los Angeles p. rock histo- 
ry (as evidenced by their painfully 
researched East LA Punk Family 
Tree and interview with old-timers the 
Skulls) but there’s stuff on newer- 
comers the Spits, Dillinger Four, 
Arrivals and Rattlesnakes to keep the 
whippersnappers happy. Good one 
from aft to stern. (JH) 

PO Box 42129 / Los Angeles, CA 
90042 

www.razorcake.com 

REV. RICHARD J. MACKIN’S 
BOOK OF LETTERS #17 / $3 

5.5 x 8.5 - copied - 40 pgs. 

God, I hate this zine. If you enjoy 
reading really incredibly inane letters 
that the editor has written to various 
large corporations, just crying for 
their attention, then you may like this. 

I don’t know what’s worse — that he 
wastes his time writing these letters, 
or that people would buy this zine just 
to read them. The “form letters” that 
most of the companies send back 
prove how ineffective his “campaign” 
is — most of the letters only get read 
in this zine! The ones he sends to the 
companies probably go straight to the 
trash. It seems ridiculous to me that 
the cover says “Protest! It’s fun!” 
because I don’t see how writing limer- 
icks to Pepperidge Farms about the 
shape of their goldfish crackers is a 
form of dissent. For the truly imma- 
ture who need cheap laughs. (MD) 
PO Box 890 / Allston, MA 02134 

ROCK N ROLL PURGATORY #9 / 

no price listed 

7.5 x 11 .5 - copied - 44 pgs 

I’m a little surprised to see a rockabil- 
ly-styled fanzine, as that scene does- 
n’t strike me as a readin’ crowd, but 
this zine is fine for what it is. The 
bands interviewed mostly talk about 
music, touring, how they met, etc. 
There are a bunch of reviews, some 
ads, plenty of pictures of the bands, 
and a few sasquatch shots, including 
a passed-out sasquatch outside a 


cheap bar. The bands include Deke 
Dickerson, Hellvis, Trip Daddys, 7 
Shot Screamers, and the Beltones. I 
was disappointed in Bill Beltones’s 
opinion that the greatest punk band 
outta Florida in the 90s, 
Chickenhead, was “nothing too excit- 
ing.” (He says he was in the band for 
a week.) This zine’s cover is a lady 
showin’ off her underwear. (JM) 

342 S Walnut St / Wooster, OH 44691 
www.rocknrollpurgatory.com 



ROCK OUT! IDEAS ON BOOKING 
DIY SHOWS #1 / $2 US / $4 World 

8.5 x 5.5 - copied - 56 pgs 
A big fuck yeah! goes out to the girls 
who put this zine together. Motivated 
by a women’s health center in need of 
some funding, they decided to start 
booking benefit shows, and put out 
this zine as a guide for other kids who 
wanted to do the same. Not only is 
Rock Out! well put together (it has 
everything you could possibly need to 
know about booking, promoting, and 
running a show), but it also looks real- 
ly fucking nice. These girls have their 
shit together and this zine inspired 
me to start looking at booking shows 
in a new light: not just as a means of 
entertainment, but also as a way of 
influencing the environment and poli- 
tics of your scene. So if you book, 
want to start booking, or just want to 


learn about it, get your hands on a 
copy of this zine. It’s fucking excel- 
lent. (CJ) 

Megan / PO Box 5027 / Chicago, IL 
60680 

SLAM-ZINE #8 / $5 

11 x 8.5 - printed - 100 pgs - German 
Despite Slam-zine’s glossy look, it is 
a rather good read with some inter- 
esting photos. This issue includes 
interviews with the Flaming Lips, 
International Noise Conspiracy, 
Dover, PSY-9, Dick Dale, and the 
.heavy metal band, Man O War, Yuck 
to them! There are also interesting 
scene reports from SoCal, and 
Russia. Finally, there are the usual 
record reviews and ads. (HH) 
c/o Bernhard Sengstschmid / 
Postfach 100 / All 51 Wien / Austria 
www.slam-zine.com 

SLAVE #7 / $4 

8.5 x 11 - printed - 104 pgs 
Somewhere between the ‘zine and 
magazine, Slave is a little slick, yet 
not too sucking-of-corporate-cock 
(although there are multiple Fat ads). 
There’s a lot of focus on the arts and 
contributions to the punk/under- 
ground scene that aren’t just boy- 
emo-bands: Decent fiction, interviews 
with artists (Chris Duncan) and writ- 
ers (Michelle Tea), and a cool piece 
on punk fashion and gender. The 
second half of the zine is more gener- 
ic: boy-bands! Always boy-bands 
(Converge, Lightning Bolt, Engine 
Down, and Botch) and reviews. My 
main critique is that most of the ads 
are so outdated (album out February 
2002? Tour dates for July 2002?) I 
hope people didn’t pay for them! 
Definitely above average for this type 
of publication. (MD) 

PO Box 10093 / Greensboro, NC 
27404 

www.slavemagazine.com 

TOXIC FLYER FANZINE #33 / $3 

8.5 x 11 - printed - 64 pgs 
Utterly, completely, and irredeemably 
toxic ( but not without charm and/or 
personality). Ints with the likes of the 
Chicken Hawks, Slash City Daggers, 
Lower Class Brats, Kill Your Idols, 
Sugar Cult, the Line, and some fond 
memories left over from the Las 
Vegas Grind drunkfest of 2001 (I’m 
telling you, it was something). Vodka- 
injected rock ‘n’ roll for functional illit- 
erates, sold with the attitude intact. 
You got the usual side dish of record 
reviews and plugs, but it shouldn’t 


come as a surprise. Outta the city that 
brought you both Edgar Allan Poe 
and John Waters, I might add. (JH) 
PO Box 391 58 /Baltimore, MD 21212 
/ toxicflyerzine@msn.com 



TOWN OF HARDCORE #3 / $2 

8.5 x 11 - copied - 14 pgs 
Yeah, the reprinted Pushead record 
reviews were pretty rad (only he 
would use words like “zoomfest” and 
“ramcharging”), but the rest of this 
zine was lackluster at best. Maybe it’s 
just that nouveau youth crew really 
isn’t my thing, but after reading a 
page of the No Warning interview and 
realizing that it was just them talking 
shit on kids they don’t like and boost- 
ing their overinflated egos, I had a 
hard time not writing this zine off as 
juvenile. I pretty much stopped paying 
attention altogether after the confus- 
ing and homophobic attack on some 
dude named Gibby. This is high 
school shit, kids. Grow up. Oh yeah, it 
also comes with issue #2.5, a 
newsletter in which Agnostic Front 
calls Tim Yo a “communist faggot.” 
Why waste paper printing this trivial 
bullshit? (CJ) 

1458 Reynolds Ave / Burlington 
Ontario / L7M3B7 / Canada 

TURNING THE TIDE vol. 15 #4 / $15 

for 4 issue sub 
10 x 16 - printed - 16 pgs 
What I’ve liked about 7TThas always 
been the informative articles on strug- 
gles I wasn’t familiar with. The down- 
side is that many of the pieces are 
high on rhetoric and low on informa- 
tion. In this issue I appreciated the 


article on Organization of American 
States President Cesar Gaviria and 
his role in the “general” (sic— it’s the 
20% of the population with the 
money) strike in Venezuela, and the 
piece on the sterilization of drug 
addicts and the venture capitalist who 
finances it. Also there’s a book review 
and a piece on New Zealand which 
were too dry for me to wade through. 
The rhetoric is flyin’ in stories I want- 
ed to be interested in (and learn more 
about), such as the mayor of 
Lewiston, ME’s campaign against 
African immigrants and that fuck 
Bratton who runs the LAPD now, but 
these stories are 1 0% facts and 90% 
exhortation. That’s fine for punk 
songs but I like my newspapers clos- 
er to the opposite ratio. It’s available 
free around LA and worth a look for 
sure. (JM) 

ARA / PO Box 1055 / Culver City, CA 
90232 

TWOTHOUSANDTWO 

8.5 x 7 - copied - 26 pgs 
I am ten. Maybe eleven, walking 
through the young adult section of the 
El Sobrante library, looking for some- 
thing new because I’ve read all vol- 
umes of Sweet Valley High, and I 
stumble across Go Ask Alice, that 
fake diary written by anti-drug 
enthusiasts to help keep kids 
straight. This zine is exactly like 
that propaganda, only with the 
added flair of name dropping. 
Alice’”s life was so gritty and 
enticing to me then, so maybe 
some youngster who runs across 
Twothousandtwo will be excited 
about the “juicy” personal bits and 
recounts of harried drunken 
black-outs and coke sniffing (just 
like in the movies!) The edgiest 
part is where our hero pukes on 
his best friend’s couch, or maybe 
it is the fantastical throat-slashing 
of a girl at the end — I can’t decide, 

I guess, because I’m too distract- 
ed by the ridiculous self-indul- 
gence of it all. See, what is trou- 
blesome about this version of 
self-disclosure is that it doesn’t 
flow with any sense of th6 narra- 
tive style that makes journal entry 
types fascinating. It comes off 
emotionless and filtered, as if the 
writer spent a year trying to make 
himself look interesting. (JB) 

8608 NW 59th Ct / Tamarac, FL 
33321 

blasphemyparade @ aol.com 


ZOOK AND MAX AIN’T WHAT 
THEY USED TO BE #1 / $1 

8.5 x 5.5 - copied - 38 pgs 
What the fuck? What a strange ram- 
paging collection of comics. I don’t 
really get most of it, and I think that is 
the intention. A family of oddballs 
including a goth girl, a dude with 
horns that talk, some monsters with 
big teeth, and a guy dressed all in 
black populate a non-specified two 
dimensional world. Each strip is like 
that weird friend that pipes up with 
non-sequiter comments. (SD) 

105 'Madison Ave 6th Floor / New 
York, NY 10016 

www.angelfire.com/ny4/timkelly1 9 
ZOOP! #21 / $2 

6 x 8.5 - copied - 68 pgs - French 
The editorial, commencing with a 
smarty-pants “long live the new moral 
order!" proceeds to clearly introduce 
the contents of this issue, a change 
from past issues which have been a 
bit jumbled. As usual, Zoop! is jam- 
packed with useful information for 
rockers and activists in France and 
Europe, including discussions of the 
eviction of a social center (squat) in 
Valence, RAWA, non-violent protests 
in England, and much more. As 
usual, there are plenty of reviews: 


TOXIC FLYER 



FANZINE 



V 

SUMMER G2 

9 


. #' ... 



TKftfK&lftCH HAW&S 



< 

TH&-S lAsu ( mv 

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music, books, fanzines, etc. Keep 
your finger on the pulse of activist 
Europe. (AC) 

Le Bokal / 3 rue Lazare Carnot / 
01000 Bourg En Bresse / France 
lebokal@free.fr 





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Sound Idea Distribution ' 
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Brandon, FL 33509-3204 

Phone (813) 653-2550 Fm (813) 653-2658 
www.soandideadistribntion.coni 
sndidea@is.netcom.com 
ORDERING INFORMATION 

Minimum order it $10 or it will be returned. 

U.S. cash, check or money order made payable to Bob Suren. 
PRICES INCLUDE POSTAGE FOR THE U.S. ONLY. 

In the US, add $3.85 for Tint date pottage, if you want it 
Can and Mex turfacejnaB : add SI per item 


fl^ Met airmail : $3 for first Hem, $1 each additional 


World surface mall : $2 for first item, $1 each additional 
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CATALOGS: Send $1 US, $2 world. 

CREDIT CARDS: We grudgingly accept your yuppie plastic. 
Call (813) 653-2550, 12-8 PM EST 


£-150 "Discografia" CD (Spain, 28 songs, great!) 

Straight To Hdl/Bdance Of Terror 7" $3.50 
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Icons of Filth "Mortarhate Projects" CD $13.50 
Innoxia Corpora "Je Teake Otocit Prst Prod Sobe" CD $12 
Katastrophobia "Age Of Aquarius" LP $8.50 
Negative FX "Discography" LP $12 
Seventeenth Class "Will Eat Your.." 7" $3.50 
To What End "And History Repeats Itsdf ’ 7" $5 
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Iron Lung/Lana Dag ales LP $&50 

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Hated Youth "Hardcore Rules" 7" $3 
Otophobia/Rcason Of Insanity 7" $3 
Book Your Own Fucking Life #10 (2002 edition) $4 


BEER CITY SALE: 50 cent 7"s, $4 CDs - See the web page 
BCT TAPES $4 each - ail 27 tides - Check the web page! 
Subscribe to MRR thru Sound Idea. Get in touch for info. 
STORES: ASK FOR WHOLESALE RATES! 
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CD’S $lO. FROM: BLACK PUMPKIN RECORDS, INC. 
PO BOX 4377 • RIVER EDQE, NJ. 07661-4377 • USA 
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WRITE FOR A FREE CATALOG! 


^SOUND POLLUTION 

>-4*1 SINCE 1090 


NEW..YPRKS. HARDEST 2 

Legendary Hardcore 
collection including 25 
TA UFE, REACH, INDECI- 
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Chords For Freedom CD 
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ALLERGIC TO WHORES 


The Lipstick Murders CD 
17 new songs of driving energetic HC with a suprising 
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also includes an entire live show! 
also available: KRIGSHOT Orebro Mangel LP/CD, UNCURBED 
Punks On Parole LP/CD, EXCLAIM Critical Exploder LP/CD, V/A 
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MEANWHILE Lawless Solidarity CD, lots more... 

SOUND POLL UTION PRICES 

7 " EP $3.50 USA, $4 Canada/Mexico, $7 World $5 each additional 
CD $8 USA. $10 Canada/Mexico. $12 World $10 each additional 
LP $8 USA, $11 Canada/Mexico, $15 World $12 each additional 


MCR CO. JAPAN RELEASES 


WAVES/HELLBOUND split MCD 

Waves - Kochi city kamikaze HC attack. Hellhound - dual m/f vocaled crust assault 

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V/A MIE CITY HARDCORE vol.2 7" EP 

With Contrast Attitude. Abe, & Oecevng Society. EP ful of 200% D-beat I Agonized Screams / Noise!!! 1 

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14 bands, 25 songs in this long running series featuring the next wave of kick ass 
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ALLEGIANCE "Here Today..." CD 

West Japan's punks 1st CD from '98, 200% street punk. 

MCR CO. JAPAN PRICES 
7” EP $5 USA. $7 Canada/Mexico. $9 World 
MCD $7 USA $8 Canada/Mexico, $11 World 
CD $11 USA $13 Canada/Mexico, $15 World 

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Order On-Line (it's secure) right now or send check, cash, or money order to : 

DR. STRANGE. F.O. BOX 1058, ALTA LOMA. CA. 91701 

Listen to a sample before you buy them for FREE... just go to www.drstrange.com and click on "News" 
www.drstrange.conm is the BIGGEST web site for RARE punk rock. Updated every 2 hours! 

Send a buck for a complete list of Doctor Strange releases and the Doc's insane punk rock catalog. 



OUT IN LATE 2002IEARLY 2003: 

THE FUTURES - vinyl Lp 
Crazed hardcore punk from Ozaka > CO on^tCR. 
REAGAN SS - E P * 

Pissed LX hardcore.... flex your fucking headl 

Highscore - 2 nd Lp 

Faster and rawer than their debut. 
GNATS SUCKER- Ep 
Great Sapporo HC from late 80s 
V/A - Four Corners Positive HC LP 

All DIY posi-HC - LIFES HALT, DEAD Ef’D, 
HIGHSCORE, POINT OF FEW and RAZLOG ZA 
SPITFIRE - Collection CD * 

[ An awesome, yet unknown Sapporo HC act from 
the mid-80s. Demo, live, CD-rom footage. 

I QUIT 1 - 2 nd Ep 







Raging Swedish punk like DIE KRUEZSN.on 
crack I 

NEVER CONFORM - EP 
Sapporo HERESY style from the late 80s 
DOMESTIK DOKTRIN - Ep 

Crazed thrash from Indonesia 

I VM - Possessed To Skate Vol II 10" 


With ETA, LIFE SET STRUGGLE, BREAKFAST and 
SCHOLASTIC DETH 

XSECRET 7x - Ep 

11 songs on 1 sidel Singapore fast attack 
V/A Barbaric Norcal EP 

New bands from Norcal like VOETSEK, SHARP 
KNIFE, DYSTROPHY + morel ' 

THEY LIVE - LP/CD 
25 years in the making, insane fastcore 
from NY. 

I SCHOLASTIC DETH - Discography LP/CD 

You asked for it. 


625 is diatro / d by: 

Ebullition 
Po Box 680 
Goleta, CA 93116 USA| 
(www. ebullition . com) 


LPSICDS STILL AVAILABLE QY: 

HHH - 2xCD Spanish 80s thrash . 
ExTxA- Frantic Swedish HC 
YOUTH ENRAGE -Japan fastcore 
RAMBO - Infamous moshtrocity 
IMMORTAL FATE-9 Os grindcore 
REAL REGGAE - Osaka thrashcore. 
Murderous Grind Attack-Comp 
SOCIETY OF FRIENDS - TX HC f . 
LIE - Fast; Japanese thrash 
GORDON SOLIE MOFOs-cievo HC 
DUMBSTRUCK - UK throaty HC LP 
HIGHSCORE - “Test German HC 
PLUTOCRACY'S- 90 s grindcore 
LIFES HALT/W^HXN - LH rules! 
WHN- CD Collects the 2 nd year 
SPAZZ - CD Collects early stuff 
DISCARGA - Fast HC de Brazil 
V/ArBarbaric Thrash Vol. 3 
DOWN IN FLAMES - New Jersey HC 
SHANK - thrash from Scotland 
RISE ABOVE - Tokyo DIY grind 


I For more detailed info, check out: 

www. 625thrash.com 


WRENCH ★ RECORDS 

PRESENTS: 

HENRY FIAT'S 
OPEN SORE 

new EP: PATMOS OR BUST 



PATMOS OR BUST 


OUT LATE JANUARY!!! 

POSTPAID AIRMAIL PRICES: £2.90 (UK), 
£3.65 (Europe), £4/$6 (USA/Rest of Woild) 

Order online from www.8Hverdisc8.co.uk, or by post from: 

WRENCH RECORDS, BCM BOX 4049, 
LONDON WC1N 3XX, ENGLAND 

Email: mail0wrench.org Fax: 020 7607 9680 
Web site & online catalog: www.wrench.g ~9 

“EPS STILL AVAILABLE:" 

I COMPLAIN - Sapporo HC attack 
| MAD RATS - Portuguese 80s HC 
SCHOLASTIC DETH - 2" 1 + 3 rt . 
FREAKS - Tokyo guitar attack 
| CRUCIAL ATTACK - SXE reno jpunk | 

I LIE ■* Ua tour ep . 

BREAKFAST - Tokyo akate thrash v 
I QUATTRO STAGIONE - fastcore 
j IRON LUNG 2 man brutality 
THE REAL ENEMY - MN axe punk 
I FACE OF CHANGE- Sapporo HC 
JELLYROLL ROCKHEADS-thrash 
I EDORA - Singaporean fast attack 
POINT OF FEW - Dutch HC 
1 JELLYROLL ROCKHEADS/ EXCLAIM 

625 SHIRTS thru EBULLITION 
| RAMBO, HIGHSCORE, (new) SCHOLASTIC | 
DETH, ExTxA, (new)WxHxN, 
PLUTOCRACY, 

(new) SPAZZ & (new ) 625. 

| Ebullition distro's 625 shirts as 
well. Check either website . 

Check the 625 website for other 
distributors that carry 625 and 
check EBULLITION'S website for older | 
623 titles that they still have 
available! 

In Europe i 

GRZENHZLL: www.greenhell.de 
| AGIPUNK: http: //utenti . tripod. it /agipunk | 
SEP : www . scorchedearthpolicy . de 








VIDEOS - All world systems! 
Trade/sale. Thousands of 

shows/promos/tv clips. Stuff like 
Propagandhi, Business, GISM, Specials, 
Radio Birdman, ANWL, Exploited, 
Poison Idea, DK’s, Blitz, Queers, 
Conflict, Rancid, GG, Dickies, 
Descendents, Operation Ivy, Disorder, 
Ruts, Misfits, Subhumans, Dwarves, 
Leatherface, Turbonegro. SAE (UK), 2 
International Reply Coupons (overseas) 
or decent trades list: Dave, 50a Great 
King St.. Edinburgh, Scotland. E-mail: 
gingoblin@easynet.co.uk 


JACOB DAVID ENTERPRISES, 

INC./PO Box 3050/Eureka, California 
95502. Need some punk politics in your 
zine in this increasingly ineffectual 
fashion-oriented kulturepunk 

scene/scheme? * Free original articles, 
columns, and ribald rants for any and all 
zine editors who ask! 


SELL YOUR BODY THE STRAP-ONS 
“Geeking Dream” 25 song CD with 
songs like Strap-On Sally for only $9 
postage paid. Send to CNF PO Box 
8241, Norfolk, VA 23503. Bodies in the 
streets Limbless Torsos begging to die. 
www.thestrap-ons.com 


PUNK/HARDCORE/GRIND 

BANDS: looking for a place to 
record that understands your sound? 
Check out the JAM ROOM recording 
studio in Columbia, SC. This world 
famous studio has produced 
recordings for THE QUEERS, 
ANTISCHISM, INITIAL STATE, 
ASSFACTOR 4, IN/HUMANITY, 
DAMAD, KYLESA, GUYANA 
PUNCH LINE, FROM SAFETY TO 
WHERE, STRETCH ARMSTRONG, 
DEATHREAT, DROP DEAD, and 
LOS CRUDOS. 24 track analog, 
ADAT, or 32 track digital recording 
services as well as mastering and 
protools editing. For more info: 
www.jamroomstudio.com 
<http://www.jamroomstudio.com/> 
or 803-787-1144. Ask about the 
punk demo special. 


FREE 5 SONG CASSETTE. Just 
send your mailing address and get 
the latest release, “Pain on Parade” 
from Skidd Freeman absolutely free. 
Send to: Skidd Freeman, PO Box 
4281, East Lansing, MI 48826 OR 
email: skiddfreeman@webtv.com. 


STAY ALL OVER THE WORLD FOR 
FREE. The World for Free was started by 
a touring band to help with 
accommodations in people's houses. 
Since then it's grown to over 250 
members. You don't have to be in a 
band! If you like people more than 
hotels, find out about THE WORLD FOR 
FREE. $20 a year membership. For 
information write to: THE WORLD FOR 
FREE, PO Box 137-M, Prince Street 
Station; New York NY 10012, USA. 
Email: info@worldforfree.com or via the 
web: http://www.worldforfree.com 


FOR THE BIGGEST AND BEST 
CATALOG of rare punk rock records, 
shirts, buttons, patches, stickers, 
studded belts, studs, etc... from bands 
like: The Adicts, Adverts, China White, 
Dead Kennedys, The Misfits, Zounds, 
Crass, Subhumans, The Dickies and 
thousands more, send $1.00 or three 
stamps (2 IRC’s or $2.00 overseas) to: Dr. 
Strange Records, PO Box 1058, Alta 
Loma, CA 91701, USA. Or check out our 
website: www.drstrange.com. Also when 
in Southern California, visit our store 
(40 miles east of Los Angeles). (909) 944- 
1778. Open 10:00 to 7:00 every day. 


WARNING 1 

CRASS COMMERCIALISM BELOW! 


WHAT YOU’VE ALWAYS DREAMED OF! MAXIMUM 
RdCKNROLL T-SHIRTS! 


TWO CLASSY YET VERY PUNK 
DESIGNS... BUY one of Each 
AND BE THE COOLEST PUNK 
IN YOUR TOWN! only $io ppd. in 

N. America... $15 ppd everywhere else 
(damn postal service), 
available in sizes S through XL 


MAXIMUM ROCKNROLL PO BOX 460760 san francisco, CA 94146-0760 







MAXIMUM ROCKNROLL 

PRESORTED STANDARD 

PO BOX 460760 

U.S. POSTAGE PAID 

5 A N PRANCISCO, CA 

SAJI PRAJICISCO, CA 

94146-0760 

PERMIT No. 728